?d 



RUBENS 



CLASSICS IN ART SERIES 



I. RAFFAEL, The Work of. Reproduced in Over Two 
Hundred Illustrations. With a Biographical Introduction 
abridged from Adolf Rosenberg. Square 8vo. Cloth 
extra. Gilt top. $2.50 net. 

II. REMBRANDT, The Work of. Reproduced in Over 
Five Hundred Illustrations. With a Biographical Introduc- 
tion abridged from Adolf Rosenberg. Square 8vo. Cloth 
extra. Gilt top. $3. 00 net. 

III. TITIAN, The Work of. Reproduced in Over Two 
Hundred Illustrations. With a Biographical Introduction 
abridged from Dr. Osker Fischel. Square 8vo. Cloth 
extra. Gilt top. $2.50 net. 

IV. DURER, The Work of ; both Copper-plates and Wood- 
cuts. Reproduced in Over Four Hundred Illustrations. With 
a Biographical Introduction abridged from Dr. Valentin 
Scherer. Square 8vo. Cloth extra. Gilt top. $3.00 net. 

V. RUBENS, The Work of. Reproduced in Over Five 
Hundred Illustrations. With a Biographical Introduction 
abridged from Adolf Rosenberg. Square 8vo. Cloth 
extra. Gilt top. $3.50 net. 

VI. VELASQUEZ, The Work of. Reproduced in nearly 
One Hundred and Fifty Illustrations. With a Biographical 
Introduction abridged from Walther Gensel. Square 
8vo. Cloth extra. Gilt top. $2.00 net. 





: ■ 


*^t0z 




"-'!'"■*■■■'■-■■■' 


: 1 






IflSilii ' 


I *~ ' w 








' 




^^HHL l SiJ 






1 A 




'.-V-', - '•^fcHra 


& " ■ " - -' : & V ' '"' ' - \ ." 








■PL; 


|||||*V* '■' 1 ■'*&&$$$ 


"$^^^^^;>i 


' ^pMgfcMClBJSjHB 





* Windsor, Kgl. Schloss Auf Holz, fl. 0,86, B. 0,625 

Selbstbildnis Rubens' 
Portrait of Rubens Urn 1623—1624 Portrait de l'artiste 

Nacli einer Aufnahme von Franz Hanfstaengl, Miinchen 



THE WORK OF 

RUBENS 



reproduced in 
Over Five Hundred Illustrations 



WITH A BIOGRAPHICAL INTRODUCTION 
ABRIDGED FROM 

ADOLF ROSENBERG 



NEW YORK 

BRENTANO'S 

MCMVII 



ITbRARY of CONGRESS 
Two Conies Received 

OCT gj I90f 

CLASS A XXc, Nfa. 
COPY B. 



Copyright, /po/, by Brentanos 



RUBENS 

HIS LIFE AND HIS ART 

RUBENS, the pride and boast of Antwerp, where he spent the 
greatest part'of his career, was not born in that city, but in the little 
Westphalian town of Siegen. An unusual train of circumstances 
had forced his parents to retire from Antwerp to this quiet country 
town on the Sieg, and here in the year 1577 Rubens was born. The 
day of his birth was the 28th of June, and on the following day, on 
the feast day of the two great apostles from whom he received his 
two-fold name, he was baptized. 

The stock whence Rubens sprang was of the simplest civilian 
type. His grandfather on the paternal side was an apothecary, and 
among his ancestors we find mechanics and small tradesmen. Ru- 
bens's father, Meester Jan Rubens, born on March 13, 1530, was the 
first to rise above the humble sphere wherein, till then, his family had 
been content to confine its interests. He had decided to take up a 
legal career, and to that end pursued his studies in the universities of 
Louvain, Padua and Rome, where in the year 1554 he received his 
degree of doctor juris utriusque. On returning to his native town 
he was early successful in winning the respect and confidence of 
his fellow-citizens, and in the year 1562 was elected one of the alder- 
men. More than a year before he had married Maria Pypelincx, 
the daughter of a former tapestry weaver, a wife destined in later 
years to be his rescuer from a shameful imprisonment and an igno- 
minious death. The time was one of violent outbreaks on the part 
of the Netherlanders, who were under Spanish rule. Religious 
movements, whether under a Lutheran or Calvinistic form, grew 
with the increasing oppression of either King Philip II, or of his 
representatives, Margaret of Parma and the Duke of Alba. 

Jan Rubens, together with all the enlightened intellects of Ant- 
werp, had joined the reform movement, which threatened to result 
in a declaration of political independence of the Spanish authori- 

5 



ties, and when he was commanded by the Spanish Government to 
arraign and convict such as were suspected of Lutheran affiliations, 
he found himself placed in a difficult dilemma between duty and 
conscience. By his diplomatic tact, it may be, he managed to steer 
clear of extremes, but when the War of the Image-breakers of 1566 
caused the Spanish Government to proceed energetically against the 
municipal authorities of Antwerp, Jan Rubens deemed it highly 
advisable to quit Antwerp, put himself beyond the jurisdiction of 
Alba's Bloody Tribunal, and seek an asylum in Cologne. 

Jan Rubens had chosen Cologne because he hoped to find in 
that wealthy and populous city opportunities to utilize his legal 
talents and thus earn a livelihood for himself and those dependent 
on him. It would seem that he very speedily acquired a reputation 
as an able counselor. At least we know that a distinguished client 
entrusted the management of her affairs to him. This was the 
Princess Anna of Saxony, daughter of the Elector Moritz of Sax- 
ony, and the second wife of Prince William of Orange, called the 
Silent. The Princess Anna refused to live with her husband, pre- 
ferring a life of luxury in Cologne rather than follow her husband 
on his campaigns. She seems, however, very soon to have become 
far more interested in the man than in the lawyer, and Jan Rubens, 
whose vanity was doubtless touched by the marked predilection of 
a princess, fell, as she herself afterwards confessed, a victim to the 
wiles of a practiced coquette. For the woman, who, it may be 
added, was even then of unsound mind, this adventure was but an 
episode in a dissolute career; for Jan Rubens, on the contrary, it 
was a fateful decree of destiny, which doomed him to drag out 
the remnant of his days in disgrace and poverty. When in 1570 
Anna of Saxony could no longer meet the expenses of an establish- 
ment in Cologne she retired to Siegen, the property of her brother- 
in-law, John, Count of Nassau. Thither she summoned Jan Rubens 
so frequently that his visits began to excite suspicion; and as 
the guilty pair seem to have thrown all precautions to the winds, the 
Count of Nassau, eager to avenge his brother's honor, ordered the 
arrest of the adulterer on the occasion of another visit which the un- 
fortunate man made to Siegen in March, 1571. Thereafter, Jan 
Rubens was kept in strictest confinement at first in Siegen, and later 
in the citadel of Castle Dillenburg. According to the laws of that 
period, the penalty for adultery was death, and Jan Rubens's fate 
would have been sealed irretrievably had not his deeply wronged 
wife begun a ceaseless struggle for his life and freedom. 

6 



In the whole history of feminine psychology it would be hard 
to find a more striking example of magnanimity than that evidenced 
by Maria Pypelincx in this protracted contest. She first of all not 
only forgave her husband " from the depths of her soul," but she 
sought to spare the repentant prisoner all the self-humiliations which 
he was only too eager to undergo. In the letters which she wrote 
the condemned man we can feel the beating of a heart full of tender- 
ness and delicate consideration. " Why should I," she writes shortly 
after his imprisonment, " considering the many years of our friend- 
ship, cherish so deep a hatred of you that I could not forgive a 
slight trespass against myself, slight in comparison with the mani- 
fold trespasses for which I must needs daily beg forgiveness of my 
heavenly Father." 

Only after two years of never-ceasing petitions and personal 
pleadings did the heroic wife succeed in obtaining the release of 
her husband from his dungeon cell. The family were compelled 
to retire to Siegen, and here, on April 27, 1574, a son was born 
who was given the name of Philip, and on the 28th of June, 1577, 
a second, whom destiny had decreed should lift the name of Rubens 
to the very heights of immortality. 

Maria Pypelincx, in the meantime, never tired in her efforts 
to lighten the hardships of their position, and, out of consideration 
for the children's education, she gained permission, a year after 
Peter Paul's birth, for the family to reside in Cologne. It was 
years later, in 1583, that Jan Rubens, by a compact with the Count 
of Nassau, finally regained his full freedom, though even then at 
the sacrifice of the larger share of the security he had deposited. 
He resumed his legal practice, and his brave wife did her part 
for the family's support by taking boarders. Their father's trans- 
gression and its consequences were kept a carefully guarded secret 
from the children, so that, in after years, all that Peter Paul could 
remember of those days was that the first decade of his life was 
spent in Cologne. 

After the death of Jan Rubens on March 1, 1587, his wife had 
no further excuse to stay away from her dearly loved native city. 
Little Peter Paul had already had his first schooling in Cologne. 
He must have been a precocious youngster, endowed with an un- 
wonted faculty for assimilating learning, since he outstripped all 
the schoolmates of his own age. 

In Antwerp Rubens attended the school of a Latin teacher 
named Rombaut Verdonck. To him Rubens owed his perfect 

7 



knowledge of the Latin tongue, wherein, even in his latest years, 
he was able to express himself with the greatest facility. 

With the completion of Peter Paul's school training it became 
necessary for Maria Pypelincx to choose some career for the youth, 
and accordingly she placed him as page at the court of Margaret 
of Ligne, the widow of Count Philip of Lalaing, who was then at 
Oudenaarde. " But speedily," we read in the biography written by 
his nephew, " court life palled upon him, and as his mind was set 
on the study of painting, he persuaded his mother that he should 
be allowed to study under the painter Adam van Noort. For four 
years under this teacher he laid the foundations of his art." 

Adam van Noort was a painter of religious pictures, and 
affected the so-called " grand style," which, according to popular 
opinion then, was considered the very acme of Art. It would seem 
that his personal character left a deeper impression on his pupils 
than his teachings. For many a year stories were told of his tippling 
and the rough manner in which he treated his scholars. 

It would be interesting to learn by what outward compulsion 
the passion for art was awakened in Rubens's soul. On this point, 
however, tradition has given us no hint, with the exception of a 
casual remark once uttered by Rubens himself in later life. Dur- 
ing a journey through Holland in 1627, he made the acquaintance 
of the German painter, Joachim von Sandrart, and to him Rubens 
related that in his early childhood he used to copy the pictures con- 
tained in a Bible with illustrations by the Swiss, Tobias Stimmer. 
As this Bible appeared in 1576, Rubens's earliest artistic efforts may, 
perhaps, be traced back to the family residence in Cologne. 

After his four years' course under Adam van Noort, Rubens 
decided to pursue his further studies in the studio of Otto van Veen, 
a Dutchman by birth, and one of the last representatives of the Ital- 
ian methods in the Netherland Schools of Art. In marked contrast 
to van Noort, Otto van Veen was a man of distinguished bearing 
and fine culture. From both Rubens absorbed much that was use- 
ful to him, and was able to round out his classical education under 
the guidance of a scholar. As painter, Van Veen held a rather 
mediocre position. In Rome he had studied under the mannerist 
Federigo Zucchero, but had the good taste to eschew the worst 
peculiarities of his master. 

In the second year after Rubens's entrance into Van Veen's stu- 
dio he had already completed his apprenticeship. In the year 1598 
he was admitted as a " free master " in St. Luke's Guild, but, instead 

8 



of starting out for himself, he preferred to continue to work for two 
years longer as van Veen's assistant. He had made up his mind 
to travel. A mighty force was impelling him toward that land 
where the majority of his fellow-countrymen believed they had 
found the very perfection of their art. The craving seized him to 
see Italy, in order to study there the famous works of the ancient 
and modern artists and train his brush to follow these great proto- 
types. He set out on May 9, 1600, on the very next day after 
receiving his passport, of which a copy has come down to us. In 
contrast to his fellow-countrymen, however, he was to return, not 
as the slave to any school, but as a conqueror who had subdued the 
foreign influences to his own use and made them subject to his own 
temperament. 

The first halting place was Venice, the home of the great wiz- 
ards of color, of whose art he must have already seen many an ex- 
ample. With passionate eagerness he threw himself into the study 
of these great masters — Titian, Paul Veronese, and Tintoretto. To 
make these impressions the more lasting he copied whatever he could 
get access to. Rubens's stay in Venice, however, could not have 
lasted very long. As early as the July of 1600 a fortunate accident 
was the cause of his activities being directed in a fixed channel. In 
one of his lodging places he made the acquaintance of a young noble- 
man who belonged to the suite of Duke Vincenzo Gonzaga of 
Mantua, then on a visit to Venice. To his new acquaintance he 
showed some pictures and drawings he had made, and the nobleman 
exhibited them to his lord, who was ever an open-handed patron of 
art and artists and who, just at that time, was looking for a painter to 
make copies of certain masterpieces in his possession. The Duke took 
Rubens into his service immediately, and the latter had never cause 
to regret the step. His Serene Highness gave him a free hand in 
his own work, while doing everything possible to lighten his per- 
sonal services. This Rubens gratefully recognized, and, in a letter 
written fully twenty years later to a learned friend, he eulogizes 
the ducal pair of Mantua, by whom he " had been treated with 
every sort of kindness." 

The House of Gonzaga possessed art treasures of incalculable 
value which Rubens could enjoy and copy to his heart's content. 
Here he first became acquainted with the creations of the ancient 
masters; here, too, he gained a more intimate knowledge of Titian, 
Correggio. Mantegna, and many others, than would have been pos- 
sible for him in Venice, while through the frescoes of Giulio Ro- 

9 



mano in the palaces of Mantua he obtained a foretaste of Michael 
Angelo. As a copyist he speedily acquired such skill that even 
experienced painters mistook his copies of Titian for the originals. 

Opportunities for the exercise of his own creative powers, how- 
ever, soon offered themselves to the young " pittor fiammingoy The 
Viceroy of the Spanish Netherlands, Archduke Albert of Austria, 
had decided to present a picture for the altar of the chapel of Saint 
Helena in the church of Santa Croce in Gerusalemme at Rome, 
which had been his titular church during the period of his cardina- 
late. He commissioned the agent for the Spanish Netherlands at 
Rome, Jean Richardot, to look for an artist capable of executing 
the altar piece, " which may well cost one hundred or two hun- 
dred thalers," and Richardot's choice fell on Rubens, to whom the 
Duke of Mantua likewise granted the necessary leave of absence. 
In July, 1601, just one year after his entering the Duke's service, 
Rubens arrived in Rome, and thus attained the goal of his deepest 
desires. 

In January, 1602, the center piece was finished, and the Duke 
petitioned for an extension of his leave of absence, which was 
granted till April. Then the whole work was to be completed. 
All three compositions clearly reflect the influences he was then 
under: his St. Helena, in her statuesque attitude and form, that 
of his antique models; the " Crowning with Thorns" that of both 
Carracci and Caravaggio; while in the " Uplifting of the Cross" 
he even ventured to follow quite closely one of Tintoretto's pictures 
that he had seen in Venice. This " Uplifting of the Cross " was the 
germ whence, in after days, was to spring the central picture of the 
great altar piece in the Cathedral of Antwerp. 

Meanwhile, in Mantua, the Duke had selected Rubens as his 
representative on an important errand. For political reasons it was 
of the greatest moment for the Duke to win the sympathies of the 
Spanish court, and to the accomplishment of this end he decided to 
send Rubens with a profusion of gifts as a present to King Philip III 
of Spain, to the Duke of Lerma, his prime minister, as well as to other 
distinguished members of the court. In March, 1603, Rubens em- 
barked from Leghorn on his sea voyage to Spain, but after his arrival, 
there was a lapse of several months ere he could fulfill his commis- 
sion in Valladolid, then the residence of the court. This delay was 
precisely what he desired, for, on the long land journey to Valla- 
dolid, many of the paintings he had taken with him had been com- 
pletely ruined. Rubens set to work to repair the damage as far as 

10 



possible, and himself painted two pictures as substitutes, the figures 
of Heraclitus and Democritus, the weeping and the laughing phi- 
losophers. Despite this hurried and therefore superficial execu- 
tion, these paintings, on their presentation, greatly pleased the Duke 
of Lerma. 

In spite of his success Rubens was in great haste to return to 
Italy. In fact, he declined a proposition, suggested by his duke, 
to make the home journey by way of France, in order to paint there 
some pictures for his Serene Highness' " Gallery of Beauties." He 
took the most direct route back to Mantua, where a weighty com- 
mission awaited him. The Duke had decided to present to the 
Jesuit Church in Mantua, where his mother had been laid to her 
last rest, a huge altar piece in three parts from Rubens's brush. 1 
With these works, as with almost all the paintings of Rubens which 
belong to the Italian period, fate has dealt most unkindly. In 1797 
the middle picture was cut into several pieces by a French commis- 
sioner, and only two of these have been saved. From an old descrip- 
tion it appears that the portraits of the duke's sons and daughters 
and — a loss far more grievous — the figure of a ducal guardsman to 
which Rubens had given his own features, have all disappeared. 
The two side pictures at least have been spared, but are in such a 
sorry state of preservation that we can form only a faint notion of 
the composition and the grouping of the figures; the faces are quite 
destroyed. With all the unconcern of a youthful art student, eager 
to utilize his acquired knowledge, Rubens lavished the results of 
all his studies on these three pictures. In the portrait figures of the 
middle picture are traces of the energetic style and, at the same time, 
the scenic art of Tintoretto; in the painting of "The Baptism of 
Christ " Rubens drew on Michael Angelo and Raphael; the arrange- 
ment on the left is after Raphael's Loggia; the picture of the Trans- 
figuration has its origin in Raphael's treatment of the same subject, 
though the individual figures clearly belong to Michael Angelo's 
world of giants. In the color scheme of the three paintings Paul 
Veronese, Tintoretto, and Caravaggio all seem to have been in his 
mind. 

But Rubens could not satisfy his genius for long with the easy 
court life at Mantua, for the old compelling power drew him toward 
the central sun of Italian art. No later than the end of Novem- 
ber, 1605, we fi n d him again in Rome, where he had arranged to 

1 The central painting was to represent the Holy Trinity being adored by the Gonzaga 
family, the side pieces showing the baptism and transfiguration of Christ. 

II 



meet his brother Philip, the two living together for almost a year 
and a half. 

In the summer of 1606 Rubens was taken seriously ill with in- 
flammation of the lungs, of which he was cured by a German phy- 
sician then practicing in Rome, Dr. Johannes Faber, of Bamberg. 
In token of his gratitude Rubens painted a portrait of his preserver. 

With the native artists Rubens had little intercourse, and still 
less with his fellow-countrymen then living in Rome, who, on ac- 
count of their reckless conduct and drinking bouts, enjoyed none too 
good a reputation. With one artist alone, Adam Elsheimer, a Ger- 
man born in Frankfort, was he, as he himself declared in later years, 
on terms of intimacy. Elsheimer, who through his connection with 
his master, Pieter Lastman, wielded a really noteworthy influence 
over Rubens, was himself an eminent landscape painter. To the lofty 
subjects of his paintings, which he drew from the beauties of Roman 
scenery, he was wont to add a peculiar charm, by means of a strik- 
ing handling of his lights and shadows, and this manner of treating 
his landscapes had, not only then, but in much later years, a power- 
ful attraction for Rubens. Furthermore, Elsheimer was a practiced 
etcher, and Rubens himself testifies that he initiated him into the 
technical mysteries of that craft, a knowledge which later on was 
to serve him in such good stead, when he had his works reproduced 
by the engravers in his employ, and was able to do the retouching 
and other finer details with his own hand. 

The principal reason for Rubens's reiterated requests for an 
extension of his leave of absence from the Duke was an order given 
him by the clergy of the church of Santa Maria, in Vallicella, for 
a large altar piece. The church possessed a wonder-working pic- 
ture of the Madonna, which was unveiled only on high festival days, 
and Rubens's painting, which they intended for their high altar, 
was to represent the patron saint of the church in the act of vener- 
ating this miraculous picture. Various circumstances, among them, 
of course, the artist's illness, delayed the completion of his work, 
and, consequently, it was a severe blow to him when, in June, 1607, 
he received a positive command from the Duke to return to Mantua. 
He was to accompany his Serene Highness to San Pier d'Arena, 
near Genoa, where the latter had decided to spend the warm season. 
During their stay in Genoa, which lasted from the beginning of 
July to the middle of September, Rubens was not idle. He devel- 
oped quite a lively taste for portrait painting, though of the many 
mentioned but few are now known to be in existence ; he also made 

12 



drawings of the splendid Genoese palaces, with exterior and interior 
views, ground plans, transverse sections, and the like, with the idea 
of using them later on as patterns for the architecture of his native 
land. Whether it was at this time or earlier that Rubens painted 
the altar piece in Sant' Ambrogio, in Genoa, representing the Cir- 
cumcision of Christ, cannot be decided with any certainty. In all 
likelihood it is to be referred to these last years of his stay in Italy. 
For here, along with the masters whose influence on Rubens has 
already been noted, Correggio for the first time is notably in evi- 
dence. His " Holy Night," which was then in Reggio, suggested 
to Rubens similar striking light effects, as well as the pose of sev- 
eral of the figures, and the same master's " Madonna of Saint 
George," which was then hanging in the church in Modena, for 
which it was painted, he had copied in one of the sketches that 
have come down to us. From the " Madonna of Saint George " 
he took the figure of that saint as model for his knightly Maurus, 
who stands a little to the left in the foreground of the altar piece 
intended for the church of Santa Maria in Valicella, which he fin- 
ished toward the close of 1607 or the beginning of 1608. 

When the picture was hung in its place above the high altar, 
Rubens was greatly chagrined to find that the light was so poor and 
the reflections so discomposing that all the pains he had taken with 
it were practically thrown away. Very likely his clients were also 
dissatisfied; at all events, the artist decided to paint another picture. 
Of the one painting, however, he made three x by dividing the com- 
position into a central picture with the Madonna encircled by angels 
and two antependiums, each containing the figures of three saints. 
To avoid the reflections he used schist instead of canvas. The cre- 
ative instinct was so strong within him that from the original com- 
position he retained nothing but the figure of St. George. 

In a letter to Mantua, in which Rubens speaks of having fin- 
ished his task, he excuses himself for his " impertinence " in ven- 
turing, after so long an absence, to request a further extension of his 
leave of absence. A few days previously he had received the sad 
tidings that his mother, now in her sixty-second year, was lying at 
death's door with asthma, and hence he must hasten homeward. He 
begs his correspondent, the Duke's secretary, to assure Serenissimus 
of his readiness to serve him at all times, and, with an earnest promise 
to return to Mantua as soon as possible, he bids them all farewell. 
" Salendo a cavallo " — all ready to mount — are the closing words 
of this letter written in the greatest hurry. But all his haste was in 

13 



vain. On the 19th of October, nine days before her son set out from 
Rome, the sterling woman, who had suffered and accomplished so 
much for her beloved ones, had closed those care-dimmed eyes for- 
ever, and Rubens could do no more than weep over her grave and, 
as a memorial of her noble life, dedicate to the chapel in which she 
lay at rest the altar piece he had brought with him. 

However firmly resolved Rubens may have been to keep his 
promise and return to Italy, fate had decided otherwise. With every 
week spent in the old home came new and closer ties to hold him 
there. His brother Philip had also returned, and the Regents of 
the Netherlands, Archduke Albert and his consort Isabella, were 
very favorably disposed toward the young artist, whose reputation 
had already reached their ears. On the 23d of September, 1609, they 
appointed him their court painter, with a yearly salary of 1,500 gul- 
dens and decorated him with a golden chain as a badge of honor. 
But far stronger than their influence was that of another which soon 
riveted Rubens in fetters he could not break. His brother Philip 
had married the sister of the wife of the City Clerk of Antwerp, 
Meester Jan Brant, and through his familiar intercourse with this 
highly esteemed family Rubens came to know, and grew to love, 
their daughter Isabella. On October 13, 1609, he brought home his 
bride, and thereby to a certain extent sealed his resolution to settle 
in Antwerp. 

His own art had absorbed so much of the Italian spirit that 
it was far more important for him now to obtain a clearer insight 
into the influences already absorbed and weld them into harmony 
with his own temperament, than to seek fresh ones. For the time 
being the new liquor was still fermenting and effervescing mightily, 
and several years must needs pass before " the bodily gigantesque," 
to which Rubens had so accustomed himself through his studies of 
the antique and the figures of Caravaggio and Caracci. When he 
had learned to note with unprejudiced eyes the naive pleasure his 
colleagues took in mere color, he began little by little to form his 
own style, and allowed the legitimate light effects of local color to 
play a far greater part in his work. One factor in this change may 
have been his frequent cooperation in later years with Jan Breughel, 
to whom he was bound by ties of intimate friendship. 

Rubens himself realized the exaggerations and unevenesses 
displayed in the work he did during the first years after his home 
coming, a period extending until about 161 2. For whenever in after 
years the opportunity presented itself, he retouched any pictures 

14 



painted during that time and tried to bring them more in harmony 
with the maturer perception of color which he had gained in the 
meantime. This was notably the fact in the case of two important 
works which saw the light, one shortly after the other, in 1609 and 
1610: the first a commission from the municipality of Antwerp, later 
removed to Madrid, " The Adoration of the Magi " ; the other a 
painting in three parts of the " Uplifting of the Cross," intended 
for the Walpurgis Church, later hung in the Cathedral of Antwerp 
opposite the " Descent from the Cross." It is precisely in this pic- 
ture that all the boisterousness of Rubens's youthful style is most 
painfully evident. But that Rubens, even then, when the mood was 
on him and his soul became articulate, could conjure from his 
palette the loveliest colors into the pure light of day, is amply 
proven by that glorious portrait painting of his young wife and 
himself, either just before or just after their marriage, as a com- 
memoration of his youthful happiness. 

Those first pictures painted by Rubens after his return, despite 
the defects which our critical eyes detect so easily, must have aroused 
the keenest interest, and, specially among the younger set of painters, 
have caused a veritable revolution. Order after order poured in on 
the young master; the pictures he painted to please his own fancy 
found ready purchasers, and students, eager to profit by his instruc- 
tions, thronged in such numbers about the entrance to his studio, 
that as early as the beginning of the year 161 1 he was obliged to 
turn away a pupil who came armed with petitions from some of his 
foremost friends and well-wishers. 

Were we to group according to their subjects the goodly num- 
ber of pictures which from 1609 to 161 5 were painted by Rubens, 
we should find that the Biblical and the profane subjects were fairly 
balanced, but, so far as the latter is concerned, the subjects taken 
from ancient mythology far outweigh all others. The intellectual 
atmosphere of that day was so strongly impregnated with Greek and 
Roman classicism, that there was no room left for other interests. 
Politics appealed only to such as were professionally employed in 
them, while, outside of them, there were only a few chosen spirits 
who took special delight in watching the kaleidoscopic intrigues of 
diplomacy; at the same time the administrative business of the little 
land had to be so cautiously and gingerly handled, in order not to 
clash with the Spanish authorities, that even the most zealous pa- 
triots shrank from meddling with it. Only at the peril of his body 
and soul durst anyone busy himself with aught outside of the dead- 



ening limitations of ecclesiastical authority, the learning of the an- 
cients always excepted, and hence the pictures in which Rubens made 
that world a living reality found willing buyers among distinguished 
amateurs and art collectors. Such pictures, it is true, had been 
painted in great numbers by other Netherlanders from the Italian 
schools. But how different were those figures, with their voluptuous 
limbs, their beautiful bodies palpitating with passionate warmth and 
feeling, which Rubens exhibited, in contrast to the bloodless, life- 
less shapes, full of futile mannerisms painted by his predecessors! 
It is quite certain that in this Rubens was gratifying the demands 
of the art lovers of that day, who took more pleasure in the unveiled 
nakedness of gods and mortals than in the mythological legends 
which gave excuse for them. Even from the Old Testament he pre- 
ferred to select such themes as admitted of his displaying the beauty 
of the female form more or less undraped, as in " Lot and His 
Daughters," " Samson and Delilah," " Judith and Holofernes," but, 
oftenest of all, Susanna surprised by the old men while bathing. His 
various portrayals of this scene must have attained a tremendous 
popularity, since in later years he allowed them to be engraved to 
meet the demand for copies. 

We should, however, be utterly in the wrong were we to draw 
any conclusions as to Rubens's moral habits from this fondness, 
which he retained all his life, for the glad, sensuous atmosphere of 
ancient times. The " Bacchanalia " which he painted were alto- 
gether the creations of his fancy. On the contrary, he was a man of 
extremely abstemious habits, an early riser, who always heard mass 
before beginning the day's work, thereafter ordering his occupations 
in such wise as to turn them to the greatest profit, both intellectually 
and materially. His restless mind, ever on the lookout for fresh 
nutriment, was never content to busy itself with a single subject. 
Painting alone never so completely absorbed his mind that it was 
incapable of occupying itself with other interests at the same time. 

So unceasingly occupied as he was, he naturally had no time for 
indulgences or dissipations of any kind. We should bear in mind, 
too, that Rubens and his contemporaries regarded representations 
which nowadays shock, or at least disturb and embarrass the spec- 
tator, with far greater ingenuousness than do the people of our day. 
Indeed, they had not the slightest scruples, as a painting in the 
Stockholm Museum testifies, about hanging up in the family living 
room a picture which exhibits, and that with uncompromising 
frankness, a subject so unquestionably objectionable as the drunken 

16 



Lot and his daughters. Anything to be found in the Bible was a 
legitimate subject for the painter's brush, nor did it even require 
the approbation of the ecclesiastical authorities, who were also the 
censors of public morals. 

But it was not merely on account of his mythological and other 
subjects of that nature that Rubens was so cherished by his high- 
born admirers. No less successful were his hunting pieces, and it 
was precisely with such subjects that he could give freest rein to 
that passion for the dramatic which gave such peculiar verve to his 
artistic temperament. He himself assures us that he painted the 
lions, tigers, and leopards from life, and a goodly array of sketches 
shows how eagerly he pursued his nature studies, how closely he 
observed these animals in every pose, movement, and situation. By 
the splendid dash and energy which sweeps hurricanelike through 
these pictures, Rubens achieved an unusual renown. For he had 
made this his own personal domain, wherein he had not his peer in 
Antwerp, not even the specialist in animal and hunting scenes, Franz 
Snyders, whom Rubens himself in his letters praises as an admirable 
painter of dead animals. To paint living animals, as Rubens so 
delighted in depicting them, was beyond Snyders's powers. 

The first of these hunting scenes — the famous lion hunt in the 
Munich Pinakothek — went to a German prince, the Count Palatine 
Wolfgang Wilhelm of Zweibriicken-Neuburg, who was also the 
first foreign prince to entrust Rubens with an important commission 
of altar pieces and devotional pictures. Undoubtedly it was also 
by his order that Rubens painted his first version of " The Last 
Judgment," the composition of which had engaged his mind during 
his stay in Italy, when he was under the immediate influence of 
Michael Angelo. 

The number of faces which the artist in his studies for this subject 
was untiring in collecting grew so great that he could not crowd them 
all into one, or even two representations of " The Last Judgment." 
On the one side were the condemned in the act of being hurled down 
into hell, while on the other was the ascent of the blessed toward 
the welcoming rays of heaven. This conjunction of such opposing 
motives could only be treated after the most summary fashion on a 
single canvas or board. A kindred subject is the fall of the rebellious 
angels, whom the Archangel Michael with his fiery sword drives 
from heaven's suncrowned heights down into the blackness of hell. 
The more tangled and intricate the knots of fallen combatants, the 
more did Rubens delight in the opportunity of displaying his cun- 

17 



ning; he felt himself so much the more in his element, and the larger 
the space he was called upon to master and people with his own 
creations, the better pleased was he. Consequently we feel that he 
is fully justified in writing as proudly as he does, in a letter dated 
September 13, 1621, to the agent of King James of England, from 
whom he hoped to receive a commission for a huge decorative work: 
" I confess that, owing to a certain natural bent, I am better fitted 
to do works on a very large scale than I am little curiosities. Every 
man according to his gifts. My talents are of such an order that no 
undertaking, no matter how vast its size and diversity of its subjects, 
has ever yet daunted my courage." 

Very early in his career he had learned how to conduct the busi- 
ness management of his studio, so that, with the help of his pupils, 
he would not be embarrassed by any commission, no matter how 
large. As soon as the picture on his easel was finished, he usually 
had one of his scholars make a copy of it, which afterwards he went 
over, " retouching " it more or less strongly, in order to give it the 
stamp of his own handiwork. That is how it is we find two or more 
copies of so many pictures signed with Rubens's name, often caus- 
ing bitter disputes as to which is the original. 

It is not difficult to distinguish the works which were entirely 
the products of his own hand, and those which were produced in 
his studio with his material assistance, from those to which he had 
done little or nothing, but which must still be regarded as the off- 
spring of his brain, since they are of his composition. In view of 
the enormous profusion of pictures bearing Rubens's name — they 
have been estimated at over three thousand — we have confined our- 
selves to the first-named category, which actually represents Rubens's 
own life work as painter, while from the second category we have 
selected only such as treat of subjects which in the first named are 
not handled at all, or at least only under another form. 

The more distant the locality for which a commission was des- 
tined, the greater the part taken by his pupils in executing it, always 
provided that the contract did not call for his individual work, as 
was often the case. Rubens knew his clientele thoroughly, and 
where he felt assured that he had not to deal with connoisseurs, or 
where again there was no question of payment, he sent the work 
of his scholars to foreign purchasers, without the least fear of 
damaging his reputation. To anyone well informed he frankly 
avowed the truth when it was demanded of him. Thus in the case 
of Sir Dudley Carton, who had in his possession a collection of 

18 



ancient marble sculptures which Rubens was anxious to obtain by 
exchanging for it certain pictures from his own brush. To this 
end he forwarded to the English art lover, then ambassador to The 
Hague, a description of the pictures he had for sale just at that 
time (1618), with a detailed account as to which were original 
works and which were not entirely of his own workmanship. In 
the very first instance he mentions : " A Prometheus bound on Mount 
Caucasus, with an eagle tearing out his vitals. Original, painted 
by my own hand, the eagle done by Snyders." This is the picture 
now in the Oldenburg Gallery, a memorial to the cooperation of 
the two artists certified to by Rubens himself. The sixth work is 
described as " A Last Judgment." " Begun by one of my pupils, 
after a picture of far greater dimensions which I painted for His 
Highness, the Prince of Neuburg, who paid me 3,500 gulden for 
it. As this work, however, is not as yet finished, I will retouch it 
thoroughly with my own hand, and thus it can rightfully be regarded 
as an original." How Rubens's pupils worked, and how he directed 
and watched over them, we know from the account given us by the 
Danish physician already mentioned. According to his narration 
Rubens ordered one of his servants to conduct him and his com- 
panion "through. all parts of his magnificent palace and show us 
his antiquities, as well as the Greek and Roman statues, whereof he 
possessed a great store. There, too, we saw a great hall, which had 
no windows but was lighted by an opening in the roof. Here many 
young painters were sitting, all working on various pieces which had 
been sketched out for them in chalk by Meester Rubens, and whereon 
here and there he had left a dash of coloring; these pictures they 
must finish entirely in colors, until Rubens came to complete the 
whole, by adding the finishing touches in coloring and drawing." 
According to this, Rubens himself always did the final working 
over. But, even so, the mere going over it on his part would not 
be sufficient to conceal effectually the mediocre performance of one 
of his less talented scholars. Highly gifted natures and zealous 
workers at the same time were rarely to be found among his stu- 
dents. As a matter of fact, he never had but one scholar and fellow- 
worker who answered those requirements — Anton van Dyck. 

On the 7th of September, 161 1, the Antwerp Guild of Archers, 
an organization then in a most flourishing state, at the suggestion of 
their president, the Burgomaster Nikolaus Rockox, one of Rubens's 
intimate friends, commissioned the artist to paint a picture for the 
altar of their patron, St. Christopher, in the Cathedral of Antwerp, 

19 



to represent scenes taken from the legends concerning that holy man. 
A short time previously Rubens had become one of their neighbors, 
for on January 4, 161 1, he had bought a large estate on the Wapper, 
as it was then called, with a garden bordering on that belonging 
to the Archers. On this property, in the course of the year, he or- 
dered the erection of new and more magnificent additions to be built 
upon the manor house he had bought with it, until gradually it took 
on the appearance of a palace. He who entertained princes under his 
roof was not minded to show himself inferior to visitors of any rank 
in the sumptuousness of his daily surroundings, and his princely 
income warranted his indulgence in such luxuries. For the preser- 
vation and worthy exhibition of his ancient sculptures he had a spe- 
cial pavilion built in his garden, which figures in many of the pic- 
tures, wherein he affords us glimpses into his home life. It is still 
standing, though Rubens's own residence has suffered many changes 
in the course of centuries. 

About 161 2, shortly after the completion of the " Descent from 
the Cross," which remains as a landmark in Rubens's artistic de- 
velopment, his style had become so self-assured, his manner of 
expressing himself in painting so luminous and so distinctively 
personal, that we may regard the real " Rubens's style " as at last 
fully in evidence in the same form which it continued to exhibit 
for a dozen years thereafter. If one desires to recognize Rubens's 
artistic handwriting at this period, he must study the paintings 
which, being signed with his own name as well as with the date, 
are recognized as being the work of his own hand: "Jupiter and 
Callisto," painted in 1613, now in the Kassel Gallery; "The Flight 
into Egypt," painted in 1614, now in the same gallery; " The Shiver- 
ing Venus," painted in 1614, now in Antwerp; a " Susanna in the 
Bath," painted in 1614, now in Stockholm; and "The Mourners 
over Christ," painted in 1614, now in Vienna. To these we may 
add the altar piece in the chapel of St. Thomas, with the portraits 
of Nikolaus Rockox and his wife, which, though not signed by him, 
is to all intents and purposes the work of his own hand. 

After 1614, there came a time when Rubens no longer had leis- 
ure to carry out, with his own brush, any such pictures as required 
more than ordinary care and patience. More and more his studio 
assumed the appearance of a workshop for the wholesale produc- 
tion of art works, a spectacle never before witnessed in the history 
of the Art of the Netherlands. About the year 161 5 a fortunate 
circumstance supplied him with an extraordinarily gifted assistant 

20 



in the person of the youthful Van Dyck, by whom the quick work- 
ings of the master's brain were as quickly given color and form. 
Indeed, Rubens was only too often compelled to curb the youth's 
impetuous temperament, which spurred him on to outdo his mas- 
ter; the latter seeking to guide him into those quieter paths which 
he himself had found in the maturer artistic wisdom, gained after 
long protracted struggles. Van Dyck, however, was of really ines- 
timable help to him, one to whom he could with entire confidence 
entrust all such work in which he was heartily interested. Certain 
peculiarities plainly indicate that the famous " Lion Hunt " in 
Munich was one of the first pictures on which Van Dyck collabo- 
rated with him; next in importance comes the " Achilles among the 
Daughters of Lycomedes," in Madrid; but especially the cycle of 
pictures which relates the history of the Roman Consul, Decius 
Mus. Although Van Dyck, as early as 1618, had been admitted as 
a " free master " into St. Luke's Guild, he nevertheless continued 
his work as assistant in Rubens's studio, for several years, in all like- 
lihood until the middle of the year 1621, though no longer, how- 
ever, as an unknown helper. When the newly erected Jesuit's 
Church in Antwerp required an extensive decorative scheme of 
paintings, and the clergy with their usual far-seeing prudence came 
to sign a contract with Rubens for the work, it was distinctly stipu- 
lated that " Van Dyck, together with certain other of his pupils," 
should work out the paintings on a large scale from sketches made 
by their master. The order was for a work immense both as to its 
size and contents. Besides two large pictures for the choir, there 
were thirty-nine others to be arranged for the ceilings over both 
naves and for the choir loft, the matter to be treated being furnished 
with great particularity by the fathers of the Society of Jesus. This 
rare example of a uniform scheme of decoration for a church, done 
under the direction of a single artist, is unfortunately lost to us. 
On the 18th of June, 1718, the Church of the Jesuits was struck by 
lightning and destroyed, the two altar pieces, together with two other 
pictures painted by Rubens in later years, were alone rescued from 
the flames. Many architectural painters, however, have left us pic- 
tures of the interior of the church, and from these one can obtain 
an idea of the arrangement of the ceiling paintings, as well as of 
the splendid effect of the whole. They are likewise supported by 
his original sketches, whereof a goodly part have been preserved. 

A second decorative work of still greater dimensions whereon 
Rubens expended incomparably more labor and display of intel- 

21 



lectual and technical ability has, on the contrary, come down to us 
intact, although the first magnificence of its coloring apparently has 
been lessened somewhat owing to repeated cleanings. This is the 
series of pictures taken from the history of Maria de' Medici, where- 
with the Queen Dowager of France, after her reconciliation with 
her son Louis XIII, commissioned Rubens to embellish a gallery 
in her newly built Palace of Luxembourg. The artist's fame had 
long before this spread throughout France, so that it is not at all sur- 
prising that the Queen should have called him to Paris in the begin- 
ning of the year 1622, in order to discuss with him the details of the 
pictures. They soon came to a perfect understanding, and so speed- 
ily did Rubens deliver the work, which included twenty-two paint- 
ings almost all of colossal dimensions, together with several portraits, 
that the Queen was able to dedicate the gallery in the May of 1625, 
on the occasion of the nuptials of Princess Henrietta of France and 
Charles I of England. As was his wont, Rubens had his scholars fill 
out this tremendous work from his own sketches. Among his assist- 
ants at that time Justus van Egmont being the most prominent. He 
nevertheless went over every one of the paintings with his own brush, 
first in Antwerp and for the second time in Paris, whither he betook 
himself in February, 1625, to supervise the setting up of the paint- 
ings in the places allotted them. 

Rubens had the satisfaction of hearing his work lauded to the 
skies by the distinguished company gathered for this function, 
among whom the king himself was not the least enthusiastic. In this 
work, which to us seems so exceedingly fantastic with its strange 
confusion of mythology and history, of symbolic and allegorical be- 
ings side by side with living personages of that period, the artist 
had done fullest homage to the taste of his contemporaries, whose 
classical training caused them to take special delight in the allusions 
contained in the painted allegories. When we look at these pictures 
with perfectly unprejudiced eyes, and regard the exuberant allegori- 
cal accessories from the viewpoint of Rubens's contemporaries, our 
first feeling of cool reserve must give place to sheer amazement at the 
display of such a wealth of imagination and at the powers lavished 
upon subjects which, strictly speaking, were unworthy of his genius. 
Where the allegorical motives are relegated to the background and 
the representation is confined to historical events, Rubens actually 
gives evidence of a simple realism, which convinces us that he had 
the stuff in him for the making of a historical painter in the modern 
sense. 

11 



This second visit to Paris was destined to exercise a weighty 
influence on Rubens's career, though in a far different direction. For 
several years he had cherished another ambition along with his 
artistic plans, and to the satisfying of it had devoted much of his 
time. The royal ruler of his native land, Archduchess Isabella, who 
with the years had grown to hold him in ever higher esteem, had 
conceived the idea of entrusting an important diplomatic mission to 
this charming personage, so well versed in worldly affairs. With 
a keen appreciation of the financial status of the Spanish Nether- 
lands, which required many years more to recover completely from 
the wounds received in the civil wars, Isabella endeavored, on her 
own instance, to induce the States-General of Holland to entertain 
a proposal for the prolonging of the twelve years' truce of 1609. 
To this end she made use of the court painter as her negotiator, 
since she deemed that the sending of such a neutral personage would 
be least likely to excite the suspicions of the other diplomats then 
stationed in The Hague. Rubens, however, was able to acccomplish 
nothing. In Paris Rubens made the acquaintance of the diplomatic 
agent and confidant of the Duke of Buckingham, Balthasar Gerbier, 
who was also a painter, and by him was presented to his lord, the 
all-powerful minister of James I and Charles I, who was then visit- 
ing Paris for the purpose of being present at the latter's wed- 
ding. Rubens painted his portrait, and thereby established relations 
which soon grew so close that the Duke of Buckingham, and with 
him his royal master, honored the painter-diplomat with their 
entire confidence, and two years later, when both sides had be- 
come weary of warfare, entrusted him with the opening of new 
negotiations. 

Rubens returned home to resume his former activities, although, 
as is amply proven by his brisk correspondence with learned friends, 
nothing could make him forget his political interests. In the year 
following, in the beginning of summer, he met with a grievous loss. 
His wife, Isabella, died of a lingering disease. Rubens was fear- 
fully shaken by this blow. His grief bursts forth even in a letter 
to a Parisian friend, to whom, as a stranger to his household, he cer- 
tainly would not have opened his whole heart. " I have lost," he 
writes in answer to a letter of condolence, " the best of wives, a 
wife whom one might rightfully love, nay, must needs love, since 
she had not one of the faults common to her sex; without a trace of 
peevishness or feminine incapacity, but good and upright through 
and through, and while beloved for her virtues in life, after her 

2 3 



death is universally mourned by all. . . . Hard indeed will it be 
for me ever to recover from my sorrow for the lost one, or from those 
memories of one whom I shall cherish and reverence as long as I 
live." It is a very touching surmise, that Rubens soon after her 
death painted the portrait of her two sons — the dearest legacy she 
could have left him — as a means of lightening his woe, by conjuring 
up her likeness in that of her children. 

An opportunity to take his thoughts away from those localities 
where everything reminded him of his lost love was soon given to 
the artist. His diplomatic services for the bringing about of peace 
between England and Spain were required sooner than he probably 
had hoped for. Charles I, who shortly after ascending the throne, 
had reopened hostilities with Spain, had, during the two years of 
1625 an d 1626, been so seldom favored by the fortunes of war, that 
it seemed to him expedient to make a first attempt to ascertain Spain's 
dispositions toward a treaty of peace by means of the good offices of 
the Archduchess Isabella. Rubens, the Viceregent's confidential 
adviser, was regarded by the Duke of Buckingham as the most 
acceptable go-between in this matter, and he dispatched his diplo- 
matic agent, the painter Balthasar Gerbier, to meet his colleague 
in Brussels. Thanks to the responsive eagerness of the Archduchess, 
the negotiations progressed so rapidly that Isabella was soon enabled 
to propose certain definite terms to King Philip IV of Spain, with 
the proviso that the details be discussed and adjusted through the 
mediation of her court painter. Philip, however, was highly of- 
fended on learning of the status of the painter-diplomat, which 
could in no wise be made to harmonize with Spanish ideas of court 
etiquette. In July, 1628, Rubens was summoned to Madrid, with 
orders to bring with him all the preliminary transactions up to date, 
in order to lay them before the King. In doing this he found an 
opportunity to arouse so high an appreciation of his own character 
that the King's former antipathy turned to esteem and good will. It 
is undoubtedly true that the genius of the painter proved a powerful 
support to the diplomat, but it is evident from the testimony of many 
witnesses that there was a charm about Rubens's personality which 
it was not easy for anyone who came in contact with him to resist. 
The painter, too, found as much occupation as the diplomatic me- 
diator, since the King, the Queen, and other members of the royal 
family sat to him for their portraits. The ties then formed lasted 
until Rubens's death. The king's fondness for munificent display, 
which led him to order the embellishment of entire halls and even 

24 



of entire palaces with series of pictures, Rubens was better able 
to satisfy, owing to his well-managed studio at home, than was 
His Majesty's own court painter, Velasquez, whose time was too 
much taken up with the burdensome duties of his position at 
court to permit of his carrying out any extensive scheme of deco- 
ration. 

From this second visit to Madrid Rubens obtained great advan- 
tage in the development of his own art. He had far more leisure 
than was the case twenty-five years earlier to enjoy the royal art 
treasures; and now especially Titian, who nowhere else was repre- 
sented with such incomparable glory as in the royal collection, ap- 
peared to him in an entirely different light. Now, indeed, he real- 
ized for the first time how closely akin this master was to his own 
matured genius and the man of fifty eagerly embraced every oppor- 
tunity of copying Titian's pictures. Of leisure, indeed, he had 
plenty, since the political negotiations dragged on so slowly that 
it was only toward the end of April, 1629, that he received his orders 
to proceed to London without delay, to continue there the negotia- 
tions. He no longer journeyed, however, as plain " Sieur Rubens,", 
but as secretary to the Privy Council of the Netherlands, to which 
position he was appointed by King Philip, who at the same time 
elevated him to the nobility. 

In London Rubens found the ground already made smooth for 
him. The Duke of Buckingham was as enthusiastic an art lover 
as his royal master, who was all the more pleased to welcome Rubens, 
since he had great plans for adorning the newly built Whitehall 
Palace with paintings, for which he afterwards gave Rubens the 
commission. With men so similar in many of their tastes, the nego- 
tiations progressed rapidly. Within a little over a month both sides 
had come to an agreement and official ambassadors were appointed 
for the signing of a definitive treaty of peace. As the Spanish am- 
bassador, however, arrived in London only in January, 1630, Rubens 
was forced to remain there until March, in order thoroughly to 
acquit himself of his diplomatic business. At his farewell audience 
King Charles I, giving him the accolade, bade him arise from his 
knees as his true knight, presented him with the sword which he 
had used for the ceremony, a diamond ring which he himself had 
worn, a buckle for his hat, and a golden chain, in token of his 
gracious favor. 

As in the spring of 1630, " Sir Peter Paul Rubens, Knight," the 
privy secretary of the King of Spain, returned to his quiet house in 

2 5 



Antwerp from the ever-changing life in the brilliant courts of roy- 
alty and from the stirring activity of diplomatic affairs, the sense of 
his lonesomeness must have been doubly hard to bear. The deep 
wounds which the death of Isabella inflicted had begun gradually 
to heal, and the man, now grown weary, feeling too the need of 
rest and fostering care, as his gouty afflictions grew daily more 
troublesome, began to look about for another partner in life. Again 
it was his good fortune to win favor in the eyes of a maiden just 
blossoming into womanhood, to whom, as to many another young 
girl, the middle-aged artist, with all his laurels freshly won from 
the great world, with his position and his wealth, appeared a most 
attractive personage. This was Helene Fourment, born in 1614, the 
youngest daughter of his highly respected and wealthy fellow- 
citizen, Daniel Fourment, with whose large family Rubens had 
been on intimate terms during the lifetime of his first wife, Isabella. 
They were, in fact, related, a son of the house having married one 
of Isabella's sisters. Of Daniel Fourment's seven daughters, who 
all seem to have been distinguished for their beauty, Rubens had 
already painted the portraits of three before he himself came into 
still more intimate connection with their family. Oftenest, however, 
he had painted Susanna Fourment, the wife of Arnold Lunden, for 
his heirs found no less than seven pictures among his effects, one of 
them having become world-famous under the misnomer of the 
" Chapeau de Paille," from a felt hat on the lady in the portrait. 
In beauty, however, they were all surpassed by their youngest sister, 
Helene, of whom Rubens's nephew declares in his life of the master, 
that " by the beauty of her form she would have outshone Helen, 
even in the judgment of Paris himself." 

Their wedding took place on December 6, 1630, and for nearly 
a full decade Rubens revealed in the newly-found happiness which 
sprang from this alliance of middle age with youth, and which even 
seemed to infuse youthful blood into his own veins. For at this time 
Rubens's art took a new flight, to which we may accredit a noble 
array of his most glorious creations, which have not their equal in 
the earlier periods of his activity. The impressions he had received 
during his late journeyings now began to bear fruit; above all his 
renewed and deeper study of Titian, from whom he had caught the 
secret of those yellowish light effects, the wealth of coloring made 
harmonious by that golden warmth of tone, the dazzling fusion of 
colors in the modeling of the nude — all without sacrificing his own 
hardily acquired style. Now, indeed, the so-called " Rubens style " 

26 



had developed its most luscious graces, displaying a bouquet of 
color which no longer recalls the sober local coloring of Saint- 
Breughel, but which, in the rising and falling waves of floods of 
light reflects every color in the spectrum, without permitting any 
special one to stand forth too prominently. And always in the 
very center of this enchanted garden, with its intoxicating revel 
of colors, stands Helene Fourment, like a spring of eternal youth. 
In the splendor of silken robes and of the jewels wherewith he 
was never tired of bedecking her youth and beauty, he painted 
her time and again every year of their married life, alone or with 
her children, of whom she bore him five. In almost every one of 
the numerous mythological paintings, which saw the light from 
1631 to 1640, she takes the foremost place as Venus, as Diana, as one 
of the first Bacchantes, singing and dancing, while, in like manner, 
we recognize her features in all the female saints painted by Rubens 
during this period. He was fondest of portraying her as St. Mary 
Magdalene, since among the women of the New Testament she is 
the only one whom the legends extol for her youth and beauty. Once, 
just before his death, he portrayed her as St. Cecilia, the patron 
saint of music. 

Now that Rubens had found new happiness in his second mar- 
riage, he felt a great yearning for a quiet life, which, in the city, 
where his house and studio were seldom free from visitors, he could 
never realize. He longed for the stillness of country life, and as he 
was accustomed everywhere to order his manner of living on a 
grand scale, he purchased, on May 12, 1635, the manorial estate of 
Steen, which lies between Mechlin and Vilvorde, paying for it 93,- 
000 gulden, a sum equivalent to about $125,000. Beside the farm- 
lands, which were worked by tenants, there were bits of woodland, 
little lakes, and above all a mediaeval castle, which, at a cost of 7,000 
guldens, Rubens made habitable. Here he found that landscape he 
loved to depict in the later years of his artistic career. One of the 
loveliest of these landscapes shows Rubens himself with his young 
wife before the castle tower taking an evening stroll at sunset, while 
in the foreground a peasant's family is returning from their work in 
the fields and a hunter with his dog is stealing upon his game. 
Sometimes, too, Rubens let his mind go back to the days of old. 
He would fain reconstruct them, showing how his castle was once 
girt about with walls and a moat with its overhanging draw- 
bridge, how the walls were pierced with loopholes, and, since the 
picture is supposed to represent the castle as it was in mediaeval 

27 



times, he portrays a knightly tournament being fought beneath its 
walls. 

It is worthy of note that Rubens painted these landscapes solely 
for his own artistic pleasure, without any thought of pecuniary 
profit, for most of them were found among his effects after his 
death. The majority are really but brilliant improvisations, in 
which it is easy to discern the painter endeavoring to arrest some 
fleeting impression of nature. As a painter, Rubens probably never 
proved himself a greater genius than in these landscapes and in cer- 
tain pictures of the same period founded on mythological and con- 
temporaneous subjects, wherein the landscape plays the foremost 
part. The engravers trained in his school, who, owing to the im- 
mense successes obtained by their former copies of Rubens's works 
were always clamoring for new material, were the only workers to 
whom these productions of the last five years of Rubens's life were 
entrusted for reproduction. 

Nevertheless, Rubens was of a far too dramatic temperament to 
content himself exclusively with charms of the idyllic in landscape 
painting. The story of Philemon and Baucis gave him an oppor- 
tunity to portray nature in the fiercest uproar of the elements, when, 
at the behest of the enraged Jupiter, the floodgates of heaven were 
opened and vast torrents of water, amid lightning and hurricanes, 
fell upon the inhospitable land, doomed to destruction. Never 
before had any painter succeeded in depicting so frightful a catas- 
trophe of nature with such dramatic power. Again he gives us a 
glimpse into the fearsome gloom of a primeval forest with its giant 
trees, through which the huntsmen are hard on the track of a Calcy- 
donian bear. 

There are still two great undertakings which belong to the last 
decade of Rubens's life. The Archduchess Isabella, his noble pa- 
troness, died on December i, 1633, after having in the previous year 
experienced the pleasure of witnessing the completion of the last 
work she was to order from her court painter, one that displays all 
his ripest powers and enthusiasm; this was an altar piece for the 
chapel of St. Idolfonso, which she wished to place there as a pious 
memorial both to her deceased husband as well as to herself. It is 
the loveliest of all Rubens's creations painted in this last period of 
his activity, or, indeed, of any other epoch in his life, and one on 
which he had lavished all the wealth he had borrowed from Titian's 
palette. Over and above the magical coloring we find in the central 
picture a tenderness and depth of feeling which make the miracu- 

28 



lous happenings seem altogether natural and credible, humanly 
speaking. As Isabella's successor in the viceregency of the Nether- 
lands, the King of Spain had appointed his only brother, the Infante 
Ferdinand, cardinal-archbishop of Toledo. But the state of hos- 
tilities in Germany delayed the arrival of the new viceroy for well- 
nigh a year. For the city of Antwerp, with its commerce so griev- 
ously disturbed by these events, it was of the highest importance to 
win the favor of the Infante, and accordingly, when he sent notice 
in November, 1634, tnat he would make his ceremonious entry into 
the town, the municipal authorities decided to make it appear as 
much as possible like a victor's progress within their walls. Along 
the entire route which the viceroy was to take, triumphal arches 
were to be erected, while, for their decoration with paintings and 
statues, every artist in Antwerp was called upon to do his share. The 
whole scheme, however, was under the direction of Rubens, who 
drew the sketches for it all or at least, for by far the greatest part. 
Here again he could give free rein to his inexhaustible fancy. He 
could display his wide knowledge of mythology and allegory, and 
his talents for pompous exhibitions, to suit the taste of that day. 
Two of the larger pieces he painted with his own brush, others he 
worked over, while the whole he carefully supervised— an immense 
piece of work, which it is only to be regretted should have been 
lavished on a merely transitory parade. In Antwerp, indeed, it 
was many a long day before they tired of dilating on the unex- 
ampled splendors of this official entry. Both the artistic and finan- 
cial execution were so highly applauded, however, that it was 
decided to have a memorial made of them in the form of engrav- 
ings. These copper plates, Rubens's sketches, and a few of the 
large paintings which adorned the triumphal arches, caused the 
memory of this event to be cherished for many a long year in the 
history of Art. 

Rubens's second great undertaking was a commission from 
Philip IV of Spain, who had not forgotten his favorite. It was an 
order for the decoration of his hunting castle, Torre de la Parada, 
three miles distant from Madrid, with a series of pictures, the sub- 
jects to be taken from the Metamorphoses of Ovid. Rubens re- 
ceived the order through the hands of the Cardinal Infante in the 
year 1636, and as early as March ir, 1638, he shipped 112 paintings, 
some of them, it is true, destined for the Castle Buen Retiro. This 
enormous work, of course, could only be accomplished with the help 
of his scholars and a sistants among whom Theodor van Thulden, 

29 



Cornelius de Vos, Jan van Dyck, Jakob Peter Gouwi, and Thomas 
Willeborts are worthy of special mention. Nevertheless, Rubens 
himself had drawn the sketches for all of them, partly, it is true, 
from earlier compositions. He went over the principal pictures 
carefully, too, as is plainly discernible, despite the sad state of the 
fragments that have come down to us. What remains of them is 
now on view in the Prado Museum in Madrid. Almost every pic- 
ture bears traces of the destructive elements to which they were 
exposed. Regarded as a whole this series of pictures must have been 
brilliantly effective, despite the collaboration of many hands and its 
evidently hasty execution. 

King Philip was so delighted with the paintings that, to com- 
plete the decoration, he ordered eighteen more pictures from Ru- 
bens, and, in addition, commissioned Snyders to fill in certain empty 
spaces with hunting scenes. Of the first installment Rubens still 
owed one picture — the " Judgment of Paris " — since he was anxious 
to make it his own handiwork. As the Archduke Ferdinand wrote 
his royal brother, on June 30, 1638, Rubens had been so grievously 
troubled with gout that he had not been able to complete the paint- 
ing, and, as the attacks continued, it was not until February 27, 1639, 
that Ferdinand could announce the forwarding of the work. " As 
all the painters say," he writes in this letter, " it is undoubtedly Ru- 
bens's best work. I can note but one fault in it, although in this I 
have found no one to agree with me, and that is the exceeding nudity 
of the three goddesses. The master replied to my criticism that this 
was precisely wherein one could judge of the excellence of a paint- 
ing. The Venus standing in the center is a very truthful portrait of 
the painter's wife, the loveliest of all the ladies in Antwerp." As a 
matter of fact, Rubens showed in this picture that he was still at 
the zenith of his powers, which had been in no wise weakened by 
his sufferings. The figures are all from his own brush, the landscape 
he left for one of his pupils to fill in, although he went over it so 
thoroughly that the whole effect is that of a work from one master 
hand, and worthy of all the praise given it by the Cardinal Infante. 

Rubens seems to have borne his terrible torments with philo- 
sophic composure. This we can gather from the merry, and at 
times humorous, tone that peeps out from several of the letters 
written during the last weeks of his life. With the warmest sym- 
pathy he rejoices in a great event in the family of one of his pupils, 
Lukas Faidherte, who had just been married. This letter, the last 
of his that has come down to us, is dated May 6, 1640. So little 

3° 



idea was there in anybody's mind of his death being so near that he 
announces his wife's speedy departure for Castle Steen. As yet he 
himself could not think of leaving town, as the completion of the 
larger pictures for King Philip, who was continually urging greater 
haste, kept him confined to his Antwerp studio. Again and again the 
Cardinal Infante had to allay his brother's impatience. Gradually 
Rubens's condition grew so much worse that the gout affected both 
his hands. As long as he was able to use his right hand he had 
managed to get along by leaving the larger pictures to be filled in 
by his pupils, while he himself did the paintings of smaller size. 
Toward the end of the month of May, the first foreshadowings of 
his speedy decease seem to have come upon him in so unmistakable 
a manner that Rubens decided on May 27th to make still another 
and more comprehensive will, which should render the earlier ones 
null and void. Three days later he succumbed to the foe, who for 
the last weeks of his life had kept him fettered to his couch. On the 
same evening his body was laid temporarily in the vaults of the Four- 
ment family in St. James's church, and on the third day thereafter 
the funeral rites were celebrated with such great pomp as, according 
to the ideas of that day, were befitting a personage of his wealth and 
high station. 

Rubens's artistic development presents us with the spectacle of 
a continuous onward and upward movement. No sooner has he sur- 
mounted one height than new ones open on his vision, toward which 
he strides with robust steps. He was ever a learner, who gratefully 
rejoiced in any addition to his powers, and hence to the last he was 
able to give his works the stamp of an imperishable vigor. Old age 
and suffering left no traces on his art. Although he had trained so 
many pupils, his school — whereby is meant all that his scholars had 
absorbed of his peculiar manner — did not long outlast him. With 
his death they lost their mainstay; it was only his fiery spirit that 
had spurred them on to accomplish tasks which were really were far 
beyond their abilities. 

The good fortune which had accompanied Rubens all through 
life did not desert him after death. There has never been a time 
when he was despised or even forgotten. True, now and then the 
material valuation of his works has fluctuated according to the 
judgment of modern art lovers who have an influence on the art 
market, but the power of his genius has always risen above these 
artificial agitations. For he is one of the great ones of earth to 
whom it is given, by the incomparable play of his fancy and the 

3 1 



majesty of his imagination, to guide us " from heaven through this 
world down to hell " ; he it is who gives us glimpses into the lowest 
depths, as well as of the most brilliant heights; one of those mighty 
men who, by the light of their genius, have illumined the pathway 
of mankind. 



ABBREVIATIONS AND EXPLANATIONS 

H. = Height 
B. = Width 



Auf HoLz = on wood 

Auf Leinwand = oii canvas 

Auf ScHiEFER = on slate 



The figures giving the sizes of the paintings stand for metres 



3 2 




i Wien, Hofmuseum 

The Annunciation 



Maria Verkiindigung 
Vor 1600 



Auf Leinwand, H. 2,24, B. 2,00 

L'annonciation 



Nach einer Aufnahme von Franz HanfstaengI, Munchen 



Rubens 1 



3 



n 



3 





1-5 




-n 


r. 


3 


3 


a: 






■m 


c 


o 


3 


| 


CfQ 


cr> 


CL 



5 H- ~— 



3 



3 



p. 

re 

on 

n 





*Grasse, Kapelle des Hospitals Auf Holz, H. 2,52, B. 1,89 

Die heilige Helena mit dem Kreuze Christi 
St. Helena with the Cross of Christ 1602 Ste-Helene avec la croix du Christ 



Nach einer Aufnahme von Motti, Grasse 



n 



a 

o 



to 3 

O: 

3 
C 
3 

r otq 

rp 



"2 

5' 




n 



71 



c 

3 





< 






T3 

b 
3 










0) <N 
> ° 




' Florenz, Galerie Pitti 



Auf Holz, H. 1,67, B. 1,43 



Justus Lipsius und seine Schiiler 
Justus Lipsius and his Disciples 1602 Juste Lipse et ses eleves 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 




* Florenz, Uffizien 

Portrait of Rubens 



Selbstbildnis 

Urn 1602 



Portrait de l'artiste 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



H 
rr 



H & 



3 £. 
►O re 

C re 



n 



D 



■ 3 



i a 



n 



t- 



o 

3 

3* 



rt> 



n 





*Wien, Palais Dietrichstein (Graf Clam Gallas) 

Portrait of a Rider 



Reiterbildnis 

1603 



Auf Leinwand 

Portrait d'un cavalier 



Rubens 2 



CO 






CO -~ 

"0 L 




> 
3 



5> > 

s 5. 

I 9* 

§ 2 



> 

3 




10 




en — . 

<u S 

e <o 

« I 

r- CO 

o S 



n 
o 




•* £ 



3 I 
.O " 
O 



PJ 



o 



£ „j 



11 



3 



5! H 
o >-r 

T ° 



H 

a* 
o 




D 
D. 

on a 



13 3 



~ T3 

S 5" 

CO — 

2 c 



T3 



-o 




12 




:3§ 

cs o 




I £ 



CO 



c/5 

f s 

B s 

2 8 



pa 



E 
_o 
o 

43 



pq 



co 



13 



8 E5 

I 3 

o 3 







£ g 



c 

Q. 

— u 

CD C/) 

o 

1° H 

o D. 

M: 

C 



H 

3" 



Q. 
Q. 




14 




a. 



3 m 




3 c75 



j= s 



s •- 



15 




Madrid, Prado-Museum Auf Leinwand, H. 1,81, B. 0,63 

Der weinende Heraklit 
The weeping Heraclitus Heraclite pleurant 




Madrid, Prado-Museum Auf Leinwand, H. 1,81, B. 0,64 

Der lachende Demokrit 
The laughing Democritus Democrite riant 



1603 



Nach Aufnahmen von Lacoste y Cia., Madrid 



16 




* Madrid, Akademie San Fernando 



Auf Leinwand, H. 2,43, B. 1,87 



Der heilige Augustin zwischen Christus und Maria 
St. Augustin between Christ and the Virgin Um 1603 Saint Augustin entre le Christ et la Vierge 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Rubens 3 



17 




* Dresden, Kgl. Gemaldegalerie Auf Leinwand, H. 2,03, B. 2,22 

Die Kronung des Tugendhelden 
A hero crowned by the Victory Urn 1604 Un heros couronne par la Victoire 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



18 




' Dresden, Kg!. Gemaldegalerie Auf Leinwand, H. 2,04, B. 2,04 

Der trunkene Herkules 

Hercules drunken Urn 1604 Hercule ivre 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



19 




c S 









■5 

H 




51 



■a 
a) 

s 



20 



.--'■- 

4 


.Si * - '-"^^^^4i 


, " ' k ? 


5 


■ . f ft 




> 1 ^ *sw~ #^BB^i 






" ■ 





>: Mantua, Stiidtische Bibliothek 



The holy Trinity 



Die heilige Dreifaltigkeit 

Um 1604—1606 
Nach einer Aufnahme von A. Premi, Mantua 



Auf Leinwand, H. 1,90, B. 2,50 

La sainte Trinite 




* Mantua, Akademie 



Auf Leinwand, H. 1,90, B. 2,50 



Anbetung der heiligen Dreifaltigkeit durch den Herzog Vincenzo Gonzaga 

und seine Familie 

The holy Trinity adored by the duke „ i604_i606 *" a sa ' n ^ e Trinite adoree par Vincent 

Vincenzo Gonzaga and his family !li ! de Gonzague et sa familie 



Nach einer Aufnahme von D. Anderson, Rom 



21 




22 







C to 



> 



23 




3 

£ 

a 
o 



H-l CO 

o 

bo - 

cu D 
JC 

1-1 

cu 



I Q 



%; '■■-»." 


I i 


1 


it 








%j 


i ! 



■S O .5 



■- I 






5 ■§ 



cu M ^ 

5 Q .5 z 



24 




M 
« 

a, 



s 




(U 


QO 


a 

'5 


to 


a 


1 




t ) 


c 





<l> 


rH 


•a 


E 


-^ 


D 



TO 




J= 


a 


O 








■n 




E 


a 


_) 


-i-» 




c 



Rubens 4 



25 




c 

be 

o 

a 

<U 00 

<u "= 

or 7 



■a 

a 



26 




'Aachen, Suermondt-Museum 

Der Hahn und die Perle 
The cock and the pearl 1606 



Auf Holz, H. 1,00, B. 0,67 

Le coq et la perle 



27 



1 

M * ' " : ■''•''■■•'■%.■.';' 




* 




n 


m^ 


-Z'* ■ 


■..'-.■■ ' fy i ■ - ' 


mm m 



*Munchen, Alte Pinakothek Auf Holz, H. 1,81, B. 1,52 

Der sterbende Seneca 
The death of Seneca Urn 1606 La mort de Seneque 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



28 




o 



CO >- 

3 o 

C Oh 



o 






r/) 


OJ 




ri 


C 


B 


■o 


aj 


™ 


o 


CO 


M 




c 




s 

53 « 



U CD 
O 

3)3 

a> to 

o 



.5 Q 



29 




'Madrid, Prado-Museum Auf Leinwand, H. 3,04, B. 2,56 

Der heilige Georg den Drachen totend 
St. George killing the dragon Um 1606— 160S Saint Georges tuant le dragon 

Nach einer Aufnahme von J. Lacoste, Laurent Nachf., Madrid 



30 




Rom, Galerie des Kapitols Auf Leinwand, H. 2,10, B. 2,12 

Romulus und Remus 

Romulus and Remus Um 1606—1608 Romulus et Remus 

Nach einer Aufnahme von D. Anderson, Rom 



31 




Berlin, Kaiser Friedrich-Museum 

St. Sebastian 



Der heilige Sebastian 

Um 1606^1608 



Auf Leinwand, H. 2,00, B. 1,28 



Saint Sebastien 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



32 




*Miinchen, Alte Pinakothek Auf Holz, H. 1,18, B. 0,92 

Die Auferstehung der Gerechten 
The Assumption of the Righteous Urn 1606—1608 L'assomption des justes 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 5 



33 




* Genua, Sant' Ambrogio 



Auf Leinwand, H. 4,00, B. 2,25 



The Circumcision Die Beschneidung Christi La circoncision 

Um 1607—1608 
Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



34 




,; Grenoble, Museum H. 4,74, B. 2,8 

Die Madonna von Heiligen verehrt 
The Madonna adored by Saints 1606—1608 La Vierge adoree par des Saints 



35 




! Rom, S.Maria in Vallicella Auf Schiefer, H. 4,25, B. 2,50 

Die Madonna mit Engeln 
The Virgin surrounded by Angels 1608 La Vierge entoure d'anges 



Nach einer Aufnahme von D. Anderson, Rom 



36 







W^^^ 1 Br * ^^i^--""";^™" 




<^1» \ .* — s^s^^- ; "w 


1 %£~* 


jjJJ^SiL ^KlWPffek A -:.. ^JSiAj 





■3 S Z <u 

•a '5< 
3 Q 



_ o 
,2 S 



« S 

5 o « 

u O 3 

= a* 

^> E w « 

o _M ^ = 

« « rax: 

•g a) a y 

ri .2 la 

E Q Q rt 

o 







O 



2 O 






Qcd 



37 




Berlin, Kgl. Museum Auf Holz, H. 0,34, B. 0,27 

Die Beweinung Christi 
The Lamentation for Christ Um 1606—1608 Le Christ pleure par les siens 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



38 




■Rom, Galerie Borghese 

The Visitation 



Marias Besuch bei Elisabeth 

Um 1606-1608 



Auf Holz, H. 0,98, B. 0,73 

La visitation 



Nach einer Aufnahme von D. Anderson, Rom 



39 




Miinchen, Alte Pinakothek Auf Leinwand, H. 1,74, B. 1,32 

Rubens und Isabella Brant 
Rubens and Isabella Brant 1609-1610 Rubens et Isabella Brant 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



40 




< 2 
o 



3P 

c 



»-H O 



3 — 



O 

< 



J3 



Rubens 6 



41 



H 

3* 



CfQ 

E 



O 



3 O 



o z^ 
oq 

e 



w 

3 
o 



D. 
> 

CTQ 

E 




42 




Berlin, Kgl. Museum 



Isabella Brant 

Um 1610—1611 
Nach dem Jahrbuch der preussischen Kunstsammlungen 1903 



43 



H 

3" 



sO 



3 
CTC) 



O 

3 



g 

_ n> 

Oi 3 

9 n> 

1 . (^ 



3 " 



3 
3 
Crq 








w _ ■ ^^p 

wHBw jJP life* " 









-J 



J3 

u 




^1 


2 <" 


(0 


kus 
n c 




oi <J « 






o 


N *J (l, 




E 


2 £55 


N 


fc, U-m 






— 


<D CD 




M J 


3 


*""l 


< 


"T". 



13 




c 




3 


s 


N 


n 


3 




C1J 




t- 

X 








5 


<->'§ 


c/> 




w 


§55 


•E3 


-«-a 


U 


en c 



45 




*Antwerpen, Museum 

Christ on the Cross 



Christus am Kreuz 
Um 1610—1611 



Auf Leinwand, H. 2,19, B. 1,22 

Le Christ en croix 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



46 




; Cannstatt, Julius Unger Auf Holz, H. 1,40, B. 1,20 

Das Opfer Abrahams 
The Sacrifice of Abraham Urn 1610-1612 Le sacrifice d' Abraham 



47 



< 



n 

X) 



DO 



3 



n 



3 



> 

3 

c ° 

o o 

J- 3" 



3 



< 



DO 



n 




48 









'" :■' 


'-. lit 




V123i* II 


H 


1 * 






■ 


, '«*P- 






E1S 1 






- 


|1K 


^SSjjB^^^HJ^B 




fSpp 1 


Ul 


* 










HP 


Wi^- 





33 3 



u S 



PQ 

C 
3 



ft-, 




X ^ 



« -a 

B * 

c o 






22 






a> 

-£> 

ecu 
o o 



>* 
2 



S 

2: 



Rubens 7 



49 



H 



3 
fD 

D. 
•n 

o 
3 



O 



3 




OQ 


< 




m 










re 


B 


c 


C/3 




H 


n> 








O 






3 


O) 


ri> 


O 


c 


T3 












o 


o 




R 


o 




re 



7 
3 




50 




Madrid, Akademie San Fernando 

Susanna at the Bath 



Susanna im Bade 
Um 1610—1612 



Auf Holz, H. 1,75, B. 2,00 

Susanne au bain 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



51 




Hamburg, Ed. Weber 



Auf Holz, H. 0,65, B. 0,50 



The apocalyptic Woman Das apokalyptische Weib La femme apocalyptique 

Um 1610—1612 

Nach einer Aufnahme von Joh. Nohring, Liibeck 



52 




: ' Miinchen, Alte Pinakothek 



Auf Leinwand H. 5,53, B. 3,69 



The apocalyptic Woman Das apokalyptische Weib La femme apocalyptique 



Urn 1610—1612 



Nach einer Aufnahme der Verlagsanstalt F. Bruckmann A.-G., Miinchen 



53 



o 



3 
Q. 



C 
OQ 





t- 1 




o 








3" 


r 


C 


3 


3 


D. 






Oi 




o 


(T> 


1 


3 




fl) 


O) 




C7> 


H 




O: 



r 1 
o 




54 




x a. 

x 



■i? S u 





"0 


c 


3 






15 


I 






"a3 


ID 


Q 


T-< 




E 


c 


D 


o 




> 




a 




o 





O 

Q 






•a 
> 



55 




■' Mailand, Galerie im Brera-Palast 

The last Supper 



Das Abendmahl 

Urn 1610—1615 
Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Auf Holz, H. 3,04, B. 2,06 

La sainte Cene 



56 




Friiher Miinchen, Sammlung Schubart Auf Holz, H. 0,57, B. 0,42 

Christus zum Erdball niederschwebend 
Christ descending to the Earth Le Christ descendant a la terre 

Um 1610—1615 



Rubens 8 



57 



H 

3" 



o ,_, *- 



r| 


* 


3 


O: 
3 






o> 


UP 






o 
| 


O 




a 


G-> 


< 




S- o 






O 




58 




Wien, Hofmuseum Au( HolZ| H . i 05) B . 1>u 

Der tote Christus von Maria und Johannes betrauert 

Um 1611—1612 
The Lamentation for the dead Christ Le Christ mort pleure par la Vierge et St-Jean 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



59 



H 

3- 



O 

3 
n 



S? w ^ 



3 




-..■. r . -■ 




60 




Antwerpen, Kathedrale 

The Descent from Cross Die Kreuzabnahme 

Middle Panel Mittelbild 

1611—1614 



Auf Holz, H. 4,20, B. 3,10 

La descente de croix 
Panneau central 



Nach einer Aufnalime von Braun> Clement & Cie,, Dornach (Elsass) 



61 




■ Miinchen, Alte Pinakothek Auf Holz, H. 0,76, B. 0,49 

Der heilige Christoph und der Eremit 
St. Christoph and the Hermit Ura 1611—1614 St-Christophe et l'ermite 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



62 




03 



c 
o 
s > 

- re 

X 0? 
£ 55 



C 

o 

> 
re 



« in 

c 

XI 

<D 
A! 

03 



c 
o 
> 
re 

CQ 



~ _o 

> 

1 § 

& ° 

- aj 

J3 

1 f- 



63 



S. 3 



< 



C C 
3 3 
_ W 



TO 



> 
era 



> 
cr 

3 
S" 
B> 

3 




64 




3 
•3 



J3 




o 




00 


w 






aj 


CO 


c 


1 


o; 








jo 


<0 


> 




V- 




1) 




Q 





67 




Munchen, Alte Pinakothek Auf Leinwand, H. 1,18, B. 1,32 

Die Gefangennehmung Simsons 
Samson taken by the Philistines Um 1612—1615 Samson pris par les Philistins 

Nach elner Aufnahme von Franz Hanfstaengl, Munchen 



68 




f Petersburg, Eremitage 

A statue of Ceres 



Statue der Ceres 

Urn 1612—1615 
Nach elner Aufnahme von Franz llanfstaengl, Miinchen 



Auf Holz, H. 0,91, B. 0,66 

La statue de Ceres 



69 





ET' JTi.'*!^^! 








H!i|i ". jjr, .H 








B ^H 








t9H 
















'*b1 








■"«Bk ' r ^H 








'%k --31 








^k. v *iJK 






MS 


— .'»*vS| 








UBIH^^, 9 


Mr *^5* 






-.;-"-'*' HB 


;"" ' '* 





=^ a IS 



c 


u* 


c 

TO 


t-1 

O 


r: 


m 


CD 

60 


to 


c 


| 


3 


CM 








CO 


C/> 




cu 

n 


B 


'£> 


u 


^ 








c 




T) 


c 






CQ 


E 




M 




C 




a, 




© 




* 








CD 




-t-< 


I 


c/] 

o 


CM 


ft 


CO 


< 


'""' 




i= 


1) 


P 


ss 




N 





70 





m 




, JH| 








^ — ^^v "\\j wr 






J^ 


i^H 




■ B ■ ' < 






Br iH E*^"' ' ^ft 






lb i vB Ik 1 ^^ 








tftjjm' J^$M 



C 

3 



U 



71 




* Petersburg, Eremitage 

The deposition from the cross 



Kreuzabnahme 
Um 1613—1614 



Auf Leinwand, H. 2,98, B. 2,02 

La descente de croix 



Nach elner Aufnahme von Franz Hanfstaengl, Miinchen 



72 




* Sanssouci Del Potsdam, Bildergalerie Auf Leinwand, H. 2,26, B. 2,49 

Die Geburt der Venus 
The birth of Venus Um 1613—1614 La naissance de Venus 

Nach einer Aufnahme von Ernst Eichgrun, Potsdam 



Rubens 10 



73 




Auf Holz, H. 1,40, B. 1,22 

Der unglaubige Thomas 

1613—1615 L'incredulite de Saint Thomas 



*Antwerpen, Museum 

St. Thomas incredulous 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



74 




i Antwerpen, Museum 

Nicolas Rockox 



Auf Holz, je H. 1,45, B. 0,56 

Adriana Perez 



1613—1615 

Flugel des Altarbildes S. 74 



Wings of the altar-piece p. 74 Volets du tableau d'autel p. 74 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



75 




*Ne\v York, W. R. Bacon Auf Leinwand, H. 1,79, B. 1,555 

Christus ubergibt Petrus die Schliissel 
Christ surrending the keys to St. Peter Um 1613—1615 Le Christ remettant les clefs a Saint Pierre 



76 




* Toulouse, Museum 



Christ on the cross 



Christus am Kreuz 
Um 1613-1615 



Auf Holz, H. 3,95, B. 1,90 

Le Christ en croix 



77 







^P™*"*^ t ' ; ; 




9h> 




H ■*■:::. 

K, . : | 

B * 


F 


f 

/ 

III' ..■' 

if/ 1 m ' 

"■ -r 
.... ...-•■ t ^ 




Ik 










■.:■ :X ■■ :: V 




"* 


^ 


^^^% 


liJAKi 




^#f^ 


bK 




t 

r 


■ 





* Stockholm, Nationalmuseum 

Susan in the bath 



Susanna im Bade 
1614 



Auf Holz, H. 0,66, B. 0,51 

Susanne au bain 



78 



1 "ww *^*" 1 i^^~~ vSZBff,' 


1 1 1 


1 jO^^^^f^ASfifc 






■l ^'1a 


m jH .yTa 









0-, 



a, 
W 



79 




X v 



c 

C 
CQ 



U 



5! e 

3 <U 

£ E 

x — ' 



80 




u 



u 



CQ 



.2 ja 

6 * 



J3 



Rubens 11 



81 



5 
o 


D 






< 
o 


o 


- 


t-h 


CO 


J2. 


3 


<T> 


n 






!=! <T 


"* 


£ 3 


Q 


~ Cl 




o 


5 




n 

3 


< 




a 


R° 


3 



o — 




82 




CO 2 



to ^ 

-o S, 

5 



S fi 









83 



n 

o 

3 
< 



Cn 3 
CTC! 



r 1 

to 

o 

O 

3 
< 



•v 

3 




84 




<u 




E 


CO 


F, 




o 


CO 






I— 




o> 


b 


Q 


P 



E- 



85 



H 

3" 



S o 










86 




*Munchen, Alte Pinakothek 

The Fall of the Damned 



Der Hbllensturz der Verdammten 
Um 1614—1618 



Auf Holz, H. 2,86, B. 2,24 

La chute des reprouves 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



87 



CD 





Cu 




3 








<s> 


r, 




3 


a> 


,_! 


3 


o> 


n> 




=*. w 



I 

o' 



CO 



3 t-i h— 



Oi 


T) 


A 




o 


n. 




""*! 


rD 




w 


(TO 




""* 


Cfl 




n. 






e 






a 






S3" 






O 






3 






3 






rp 






P. 






CO 






fft) 







3 


-*-' 


ra 


ca 


u_ 




Hh 


1- 




O 


E 


Oh 



e E 



CQ 



o. ,--. 




B 




E 




TO 




§ 






LO 


B 


CO 






a; 


E 


en 


D 






E 




■a 





03 



Rubens 12 



89 



2 I 

3- iS 



3 



C/3 

to 



5 


^ 


< 


*< 




3 


frn 


T3 




3* 


o 


R 3 


O 


1- C 




en 3 


o 


£ & 


o 


CO 







90 







•a 



w E 
2 3 



3 



o 

CO 



X! 



91 



CO 



3 




CO 



3 2. 



7 -3 



3 S3 

I 3 

3 O 

7Q S- 



3 » 




92 




■ Paris, Louvre 

Die Madonna mit Engeln 
The Madonna with Angels Um 1615 



Auf Leinwand, H. 1,38, B. 1,00 

La Vierge aux anges 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



93 




'Paris, Louvre 

Christ on the Cross 



Christus am Kreuz 

Urn 1615 



Auf Leinwand, H. 3,33, B. 2,i 

Le Christ en croix 



94 



! 


























.:■■■■■ ■$■: ■:". ■ 




'*.T \ 






1 4 


J9H 


■ : -::J^t\ 








$ 
























■H W[ 
































;' 




:^: ;:: 


-J» 










f 


,:W§lM 


• 




















. 


***** 








*■ 














M J^r^ 






\ * ■ 




- •'... ,;. 


















~'' : *x,-;. 
















r ? : 




^^^HBHH^Hnni 






















^%0 I 



*Munchen, Alte Pinakothek - Auf Holz H. 1 44 B. 1 28 

Christus und die reuigen Sunder 
Christ and the Penitents Um 1615 Le Christ et les penitents 

Nach einer Aufnahrae von Franz HanfstaengI, Munchen 



95 




*Munchen, Alte Pinakothek Auf Holz, H. 1,82, B. 1,20 

Das kleine jtingste Gericht 
The small last Judgment Um 1615 Le petit jugement dernier 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



96 




Petersburg, Eremitage 

Venus and Adonis 



Venus und Adonis 

Um 1615 



Auf Holz, H. 0,84, B. 0,91 

Venus et Adonis 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 13 



97 



3" 



3 
■a 

s* 



> 5" § 



s -c S 



3 
•< 

3 

■a 

3* 




98 








.S2 O 





*t. 












•d 


B 
















o 






o* 






c 






«j 












Oh 


U) 




1*. 


B 




C/3 




C/) 






m 




o 


rn 






< 




o 


r 


CD 


= 


o 


1-1 


u 


> 


F 


B 


N 


D 


> 


c 




fan 


TO 




a 








Uh 




0) 

> 



99 



en 

CO 



3 



C 



OQ 



2 c 
c 

3 
P. 




en 



D 



71 r- c ' 



5 


TJ 




a 


— 


5 




Cfl 




^ 








3 




O. 




T3 




u 




C 






r^ 


c 






t/) 




T3 






100 




•a = 



■a ^ 



w 




£ 


•o 


*-* 


^J 


M 


aj 




c 


ca 




3 
T) 


£ 




c 


*d 









e 

3 



S 3 



101 



<; 

Crq 



C =1. 



5 
5' 




CO 

51 



c 

3 2. 



I EL 



O 

3 




102 




< 



c 
o 

N 

B 

< 



03 



J3 
E- 



103 




Lille, Museum Auf Leinwand, H. 2,34, B. 1,84 

Die Madonna mit dem Kinde und dem heiligen Franz 
The Madonna with Child and St. Francis Um 1615 La Vierge avec l'enfant et St-Francois 

Nach elner Aufnahme von Alf. Cayez, Lille 



104 




* Miinchen, Alte Pinakothek Auf Holz, H. 1,21, B. 1,04 

Bildnis des Dr. van Thulden 
Portrait of the doctor van Thulden Urn 1615-1616 Portrait du docteur van Thulden 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



SRubens 14 



105 




* Briissel, Prinz Anton von Arenberg 



Auf Leinwand, H. 1,40, B. 1,19 



Pierre Pecquius 
Urn 1615 



106 




'Miinchen, Alte Pinakothek Auf Lelnwand, H. 6,05, B. 4,74 

Das „grosse" jungste Gericht 
The "great" last Judgment Um 1615—1616 Le „grand" jugement dernier 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



107 




* Dresden, Kgl. Gemiildegalerie Auf Holz, H. 1,215, B. 0,96 

Das jungste Gericht 
The last judgment Um 1615—1616 Le dernier jugement 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



108 




3 








Uh 




•a 




c 




a 






<X> 










T3 




( J 




JM 


<X> 


o 


1—1 




E 

D 






3 




re 




T1 




M 




TO 




^> 




<o 


en 




-i 


U 


E 



^ 33 



109 




Brussel, Kgl. Museum Auf Holz, H. 0,48, B. 0,37 

Martyrium der hi. Ursula und ihrer Genossinnen 

Skizze 
Urn 1615—1618 
Martyrdom of St. Ursula and his companions Martyre de Sainte Ursule et de ses compagnes 

A sketch Esquisse 



Nach elner Aufnahme von Franz Hanfstaengl, Miinchen 



no 




Richmond, Sir Frederick Cook 

Portrait of a man 



Bildnis eines Marines 

Um 1615—1618 



Portrait d'homme 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



111 




Berlin, Kaiser Friedrich-Museum Auf Leinwand, H. 2,30, B. 3,05 

Neptun und Amphitrite 
Neptune and Amphitrite Urn 1615—1618 Neptune et Amphitrite 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



112 




N 

n 

T 3 oo 



s i 



Bh 



Rubens 15 



113 




^i 

M 



Q - 
'S3 

5 







J3 

U oo 

c I 

? -A 



aj 



o 

5 



CO 



E 
.a 
£ 
o 



114 




&jO oo 



-J ^ 

•a J 

Q 



115 




o 
H 



Jl Q 




a. 
o 

s 

•a 

n 



- <u 



u 



116 




e 

o 



■£: -* 






117 




* Miinchen, Alte Pinakothek Auf Holz, H. 1,81, B. 2,09 

Madonna im Blumenkranz 
The Virgin and child in a garland of flowers Um 1615—1618 La Madone dans une guirlande de fleurs 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



118 




* Miinchen, Alte Pinakothek Auf Leinwand, H. 3,20, B. 2,83 

Die Versohnung zwischen Esau und Jakob 
The reconciliation of Esau and Jacob Um 1615—1618 La reconciliation d'Esau et de Jacob 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



119 




c 
o 



w 



o ■*- 



W 



2 

CD 00 

TJ CO 

"2 T 

3 g 

& E 

O 3 

(J 

CD 
CJ 

ft w 

•o -g 

i_ o 

CD J2 

1) .2 

5 s 



u 



120 




W) 




o 




J2 




c 




CL> 




M 


00 


0) 


CO 


Of 




^^j 


to 


1 


CD 


4i 


£ 


CO 


D 


J3 




u 




CO 




■a 




c 





E .3 



Rubens 16 



121 




Wien, Hofmuseum 



Auf Leinwand, H. 1,66, B. 1,87 



Jupiter und Merkur bei Philemon und Baucis 



Jupiter and Mercury with Philemon .. icicicis Jupiter et Mercure chez Philemon 

and Baucis et Baucis 

Nach einer Aufnahme von J. Lowy, Wien 



122 




00 

c 



■o 




c 




3 




CO 

CU 


o 


C 


CD 


C 


^ 


nj 


1 


O 


CD 


— 


'-' 


_^ 


E 


c 


D 



123 




Petersburg, Eremitage Auf Leinwand, H. 0,91, B. 1,07 

Bacchanal 
A Bacchanal Um 1615—1620 Bacchanale 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



124 




a 

o 

1-1 

•o 

c 

< 

•a 

a 

3 



125 




S 2 



3 




O) <D 



C 



P3 



126 







a. 



127 




S 2 

CD 

a i 



a 
'53 to 



— rt a. 



2 



o 







+. S 



t/3 M 



^H C 



MS 



128 




* Petersburg, Eremitage Auf Holz, H. 0,62, B. 0,50 

Charles de Longueval, Comte de Bucquoy 
, Um 1615—1620 

9 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 17 



129 




CD 


CO 


r, 




c 


n 


to 





S| 




n 


CO 


CD 


CO 


of) 


•"* 


n 


1 


3 


io 




CO 


en 


*"■"' 


CD 

C 


E 


<LI 




c/> 








C 




•n 


B 







■S PQ 




3 a 

a. 
o 

CD 

H 



130 




an 








H 


to 


m 




•a 

e 


10 


(]> 


to 


bfl 


1—1 


3 


E 
D 



UJ 



131 




* Wien, Fiirstl. Liechtensteinsche Galerie 



Jan Vermoelen 

1616 
Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Auf Holz, H. 1,27, B. 0,97 



132 




* Dresden, Kgl. Gemaldegalerie Auf Leinwand, H. 2,20, B. 2,365 

Dianas Heimkehr von der Jagd 
Diana and her nymphs returning from the chase Diane et ses nymphes revenant de la chasse 

Urn 1616 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



133 




Sanssouci bei Potsdam, Bildergalerie 



The holy family 



Die heilige Familie 
Urn 1616 



Auf Holz, H. 1,69, B. 1,23 

La sainte familie 



134 




•a 

c 



00 



to 

n " 

'53 E 

D 

Vi 

'5 
5 




■a 




c 








* 


CO 






to 


CO 


cl> 




C 


R 


<D 


D 


a, 









K 





J= T-5 



135 





^;i- ! sr i 5^ 




:.i : ' ;f: ;:;; ^ : IV::^'*Vv*' ' ■'■'- *' . 










' Vo>V : '■:""'' "■ .{ ' 


* 


I . : H I 

tofti mm 


V 




_ 




'.-MM '** < ' 


"V 


r 


*"■ 


'MBkl 


1L I'X 


\l , 




\* - . • 




fc.^fi 




it 


n 


*^^%ssaf^ 



* London, Charles Butler Auf Leinwand, H.2,03, B. 2,29 

Loth verlasst mit seinen Tochtern Sodom 
Loth and his daughters quiting Sodom Um 1616—1617 Loth et ses filles quittant Sodom 

Nach einer Autnahme von Braun, Clement & Cie., Dornach (Elsass) 



136 




•a 

Cut) t-. 



£ 52 

.Si D 

Q 



'.Rubens 18 



137 




X =3 



c c 



fc, 



C ID | 



E 

O 



138 













5 W 

■■: :■ ■KL ifc _ aSH 


|j 


pr 


HK:f'^ 


Jj, if 


> 1 !' 


, 




<f .» 




Br' 


')) 


Sn?% 


'*? 


' TJ* 


\t 


'% |; . '.mf^Uf.' 




: 


' ^>- *- 'i? 


■ .;:■;./":"■. 


* __^ 


-. 'l , c 


1____ _ :__ ; ; :_ ; ___ ; ___^__ 


i»gt*i(%- 


;-;- : *ffe 





* Madrid, Prado-Museum Auf Leinwand, H. 2,46, B. 2,67 

Achilles unter den Tochtern des Lycomedes 

Achilles among the daugthers of Lycomedes Um 1616—1618 Achille parmi les filles de Lycomede 



Nach einer Aufnahme von J. Lacoste, Laurent Nachf., Madrid 



139 




i3 to- 

= 6 



E- 



140 













!";:'.. .''"■' il- ' 












VjW 


3» **. 














X 


#*^sp 










JHF^ 










"^B 




9 ■ 


mum 


'"''-t^^S-A* 








■&( ■■ "■■"1 


* "A-**^ 




^^^^^w 




1 *Jfl 






A 


■■^H 


















-. JCUI^^* 




• W-' 1 i^BUi 













Brussel, Senator Allard 



Auf Holz, H. 1,13, B. 0,89 



Chevalier Corneille de Lantschott 
Urn 1616—1618 



141 




Weimar, Orossherzogl. Museum Auf Leinwand, H. 2,14, B. 1,44 

Gottvater und Christus mit den Heiligen Paulus und Johannes 
God the father and Christ with SS. Paul and John Dieu le pere et le Christ avec Saints Paul et Jean 

Urn 1616—1618 
Nacli einer Aufnahme von K. Schwier, Weimar 

142 




Kopenhagen, J. Hage 

Portrait of a man 



Bildnis eines Marines 
Um 1616—1618 



Auf Holz, H. 1,03, B. 0,725 

Portrait d'homme 



143- 




■a 

c 



■a 2 

3 E 



u 



144 




* Koln, Museum Wallraf-Richartz Auf Leinwand, H. 3,76, B. 2,39 

Stigmatisation des heiligen Franz 
St. Francis receiving the stigmata Um 1616—1618 Saint Francois recevant les stigmates 



Nach einer Aufnahme von Th. Creifelds, K61n 



Rubens 19 



145 




a 



Q. 


00 


O 


s 


pi 






1 


1) 


1 
to 


a; 


to 


2 


1-1 




c 


i- 


D 



> 



146 




' Antwerpen, St. Paulskirche 



The flagellation 



Auf Holz, H. 2,19, B. 1,61 

Die Geisselung Christi 

1617 La flagellation du Christ 



147 




* Antwerpen, Museum Auf Holz, H. 1,39, B. 0,90 

Christus im Grabe (Le Christ a la paille) 
Christ in his sepulchre Urn 1617—1618 Le Christ au tombeau 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



148 





Antwerpen, Museum 

Maria mit dem Kinde 

Urn 1617—1618 

The Virgin with child La Vierge avec l'enfant 



Auf Holz, je H. 1,37, B. 0,42 

Der Evangelist Johannes 

Urn 1617—1618 

St. John the evangelist Saint Jean l'evangeliste 



Wings of the Altar-piece p. 148 Fliigel des Altarbildes S. 148 Volets du tableau d'autel p. 148 

Nach Aufnahmen von Braun, Clement & Cie., Dornach (Elsass) 140 




Brussel, Kgl. Museum 



Auf Holz, H. 0,71, B.0,56 



Jean Charles de Cordes 

1617—1618 
Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



150 




Briissel, Kgl. Museum 



Auf Holz, H. 0,71, B. 0,56 



Jacqueline van Caestre 
1617-1618 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



151 




* Marseille, Museum 

Die Anbetung der Hirten 
The adoration of the shepherds 1617—1619 



Auf Leinwand, H. 0,65, B. 1,00 

L'adoration des bergers 




* Marseille, Museum 

The resurrection of Christ 



Die Auferstehung Christi 
Um 1617—1619 



Auf Leinwand, H. 0,65, B. 1,00 

La resurrection du Christ 



152 











W*^fc 


\ (kt mW 


. 


AjTdghii •' 




Av' BEHL. ^ j K , 






^HP* '■ am 

mar mr 

fjJL+*mmm 






jkfi* 


J 


/- . H ' ^r X' 1 ^i-i^fi259ft^h^. **S^»^^^dHM 












^B^B^^^' i9i 


£ r a 






^r ^E 








Jl 




■^Jj ^y^H 




L« 4| ■ 






m\ m 


Ih ^^o\ 




Wr .m^' m^m ^m^mtmwm^mmmw 




■■■■ ■ -■ ■■£&'■ jjb| 



' Munchen, Alte Pinakothek 

The drunken Silenus 



Der trunkene Silen 
1618 

Nach einer Aufnahme von Franz HanfstaengI, Munchen 



Auf Holz, H. 2,05, B. 2,11 

La marche de Silene 



Rubens 20 



153 




• Wien, Fiirstl. Liechtensteinsche Galerie Auf Leinwand, H. 2,94, B. 2,80 

Die Geschichte vom Tode des Konsuls Decius Mus 

Um 1618 

1. Kundmachung des Traums 

The story of the consul Decius Mus L'histoire du consul Decius Mus 

1. Decius relating his dream 1. Decius raconte son reve 

Nach einer Aufnahme von Franz Hanfstaeng], Miinchen 



154 




155 




> Wien, Fiirsil. Liechtensteinsche Galerie Auf Leinvvand, H. 2,84, B. 3,38 

Die Geschichte vom Tode des Konsuls Decius Mus 

Um 1618 
3. Die Todesweihe 
The story of the consul Decius Mus L'histoire du consul Decius Mus 

3. Decius sacred to the death 3. Decius voue aux dieux infernaux 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



156 




* Wien, Fiirstl. Liechtensteinsche Galerie Auf teinwand, H.2,88, B. 3,46 

Die Geschichte vom Tode des Konsuls Decius Mus 

Urn 1618 

4. Die Heimsendung der Liktoren 

The story of the consul Decius Mus L'histoire du consul Decius Mus 

4. Decius giving leave to the lictors 4. Decius renvoyant les licteurs 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



157 




o t! 
o o 

3 E 



§ 1 

"O CD "^ 

« E "S 

O 3 •= 



a 



ira 



Q u 






158 




Q £ 



.a 



r 




._ 


o 




- 

c 


t/l 




ba 


<]> 


CO 




■a 


!0 


c 


<L> 






■a 


b 




o 


n 


aj 


H 




_J 


E 
o 




<T3 

Q 


> 







o 



a a 



O . 



159 















• ' "• 










^f-::";;,, ;:''V' .. 








:■.. ' ' : 






HH 








|HH 


Hk 


Mk 






We 




it 

'.y ~ 




* il 






Bl 


: 




i 


















•\ 





















iM 



c 
o 

> 

c 
2 



160 




x s 

< c 



J3 

a. 
E 



C/5 



^ P 



Rubens 21 



161 




3 



Pu 



"* I 

t; oo 

•a — 

c 



Q 



162 




163 




bo 



c 




:0 




* 












CM 


CD 


■o 


| 


c 


00 
CO 


3 




s 


E 


-Q 


D 


c 




< 




o 








Q 





164 




£3 



5 -a 



■a 
c 

3 



:0 

01 



M 

c 

3 

C 
J= 
=0 

CO 

CO 

3 . 
< ■ 



165 




Florenz, Galerie Pitti Auf Holz, H. 1,14, B. 0,80 

Die heilige Familie 
The holy family Urn 1618—1620 La sainte familie 

Nacti einer Aufnahme von Franz Hanlstaengl, Miinchen 



166 




Worms, Freiherr von Heyl zu Herrnsheim Auf Holz, H. 0,965, B. 0,723 

Maria mit dem Kinde 
The Virgin with child Urn 1618—1620 La vierge avec l'enfant 



167 




s .a 



z. < 



< 



c 


UD 


o 




> 


7 




oo 






I— 


CD 


O) 




J2 


B 


< 


D 


M 




O 




N 





u 



< 



168 




< .Q 






-Q 


o 


C3 


■r-i 


CO 


CD 


1 — ' 


*7 


a 


00 


"S 


CD 


r^ 




C 


s 






Rubens 22 



169 




* Koln, Freiherr A. von Oppenhelm 

The Car of Apollo 



Auf Holz, H. 0,99, B. 0,73 

Apollo auf dem Sonnenwagen 

Um 1618—1620 Apollon sur le char du soleil 



170 




o 



a 

CD o 



-3 CD 






o 



i 



i — 

= CD 

3 CD 

« c/3 



g o 



171 




Paris, Baron Edmund von Rothschild 

Peter van Hecke 



Peter van Hecke 

Urn 1618—1620 



Auf Holz, H. 1,145, B. 0,905 

Pierre van Hecke 



172 




5 Paris, Baron Edmund von Rothschild 

Clare Fourment 



Klara Fourment 

Um 1618—1620 



Auf Holz, H. 1,145, B. 0,905 

Claire Fourment 



173 




*Lyon, Museum 



Auf Leinwand, H. 5,55, B. 3,61 



Die Madonna und die Heiligen als Fiirsprecher ftir die Menschheit 

Urn 1618—1620 

The Virgin and the Saints as Intercessors La Vierge et les saints intercedant pour 

for the Mankind sauver le monde 



174 



Nach einer Aufnahme aus dem Verlag von J.-E. Bulloz, Paris 




■' Brussel, Kgl. Museum Auf Leinwand, H . 4,90, B. 3,30 

Die Himmelfahrt Maria 
The Assumption of the Virgin Um 1618—1620 L'assomption de la Vierge 



175 






Q. 
OQ 

3 



GO 

o_ 
ST 
3 
o 

3 



a 



c 

B 


c 










O) 


n> 


00 


— 


^ 


CO 


o: 


E. 


to 

o 


o" 




3 




o 




176 




* Stockholm, Nationalmuseum 

The three Graces 



Die drei Grazien 
Um 1618—1620 



Auf Leinwand, H. 1,11, B. 0,64 

Les trois Graces 



Rubens 23 



177 




* Wien, Akademie 

The three Graces 



Die drei Grazien 
Urn 1618—1620 

Nach einer Aufnahme von J. Lowy, Wien 



Auf Holz, H. 1,19, B. 0,99 

Les trois Graces 



178 




> 

< u 



3 

•a 



c 
3 : 
H 

c 
o 
> 

bo 

c 

3 
eu 

JO 

o 

W 



~H IU 



o 



179 




'Madrid, Prado-Museum 

The brazen Serpent 



Die eherne Schlange 

Urn 1618—1620 



Auf Leinwand, H. 2,05, B. 2,35 

Le serpent d'airain 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



180 




* Antwerpen, Museum 



Auf Holz, H. 4,20, B. 2,25 



Die letzte Kommunion des heiligen Franz von Assisi 

The last Communion of 1619 La derniere communion de 

St. Francis of Assisi St-Francois d'Assise 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



181 




'Miinclien, Alte Pinakothek Auf Leinwand, H. 4,70, B. 2,73 

Die Ausgiessung des heiligen Geistes 
The Descent of the holy Spirit 1619 La descente du Saint Esprit 

Nach einer Aufnahme von F. Bruckmann, A.-G. Miinchen 



182 




*.Munchen, Alte Pinakothek 

The Nativity 



Die Geburt Christi 
Urn 1619 



Auf Leinwand, H. 4,75, B. 2,70 

La nativite 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



183 




* Miinchen, Alte Pinakothek Auf Leinwand, H. 2,22, B. 2,09 

Der Raub der Tochter des Leukippos 
The Rape of the Daughters of Leukippos 1619—1620 L'enlevement des filles de Leucippe 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



184 




< 



3 

< 5 



1 * 






a, 
S 
w 




J3 



-= s 



53 


E 


c 


;i 


ai 




r/> 




CO 

o 


r3 


1— 


>, 


U 


.E 


eq 






OJ 








o 




M 



Rubens 24 



185 




"Wien, Hofmuseum Auf Leinwand, H. 3,62, B. 2,46 

Der heilige Ambrosius und Kaiser Theodosius 
St. Ambrose and the Emperor Theodose Um 1619 St-Ambroise et l'empereur Theodose 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



186 




* Genua, Sant' Ambrogio Auf Leinwand, H. 4,00, B. 2,75 

Die Wunder des heiligen Ignatius 
The Miracles of St. Ignatius Urn 1619—1620 Les miracles de St-Ignace 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



187 




Wien, Hofmuseum Auf Holz, H. 1,04, B. 0,72 

Ignatius von Loyola heilt Besessene 

Um 1619 

Skizze zu dem nebenstehenden Bilde 

The Miracles of St. Ignatius of Loyola Les miracles de St-Ignace de Loyola 

Sketch of the Picture standing by Esquisse du tableau ci-contre 



188 



Nacli einer Aufnahme von Franz Hanfstaengl, Munchen 




• Wien, Hofmuseum Auf Leinwand, H. 5,35, B. 3,95 

Ignatius von Loyola heilt Besessene 
The Miracles of St. Ignatius of Loyola Um 1619—1620 Les miracles de St-Ignace de Loyola 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



189 




' Wien > Hofmuseum Auf Ho|Z| H 1M> B 0J2 

Die Wunder des heiligen Franz Xaver 

Skizze zu dem nebenstehenden Bilde 

Urn 1619 

The Miracles of St. Francis Xavier Les miracles de St- Francois Xavier 

Sketch of the Picture standing by Esquisse du tableau ci-contre 



190 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 




'VVien, Hofmuseum Auf Leinwand, H. 5,35, B. 3,95 

Die Wunder des heiligen Franz Xaver 

Um 1619-1620 
The Miracles of St. Francis Xavier Les miracles de St-Francois-Xavier 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



191 







I ?• *"* 


, f "' 


1 ▼ ^r ■ ^ 


'DHL. jBT' 








^^■w ^ * 



* Nantes, Museum Auf Leinwand, H. 3,10, B. 2,28 

Judas Maccabaus, fur die Verstorbenen betend 

Urn 1618—1620 

Judas the Maccabee praying for the Dead Judas Macchabee priant pour les defunts 

Nach elner Aufnahme von R. Gu^nault, Nantes 



192 




■ Wien, Hofmuseum 



Auf Holz, H. 4,58. B. 2,97 



Die Himmelfahrt Maria 
The Assumption of the Virgin 1620 L'assomption de la Vierge 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 25 



193 




"Brussel, Professor Willems AufHolz, H. 0,46, B. 0,515 

Der Hbllensturz der abtriinnigen Engel 
The Fall of the rebellious Angels Um 1620 La chute des anges rebelles 

Mit Genehmigung von Charles Sedelmeyer, Paris 




<wien, Akademie Die Anbetung der Hirten 

The Adoration of the Shepherds Um 1620 



Auf Holz, H. 0,32, B. 0,475 

L'adoration des bergers 



Nacli einer Aufnahme von Victor Angerer, Wien 



194 




'Paris, Louvre Abraham und Mel chisedek Auf Hoiz, h. o,48, b. o,64 

Abraham and Melchisedech Um 1620 Abraham et Melchisedech 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 




' Paris, Louvre rjj e Kreuzesaufrichtung 

The Raising of the Cross Um 1620 



Auf Holz, H. 0,33, B. 0,38 

L' erection de la croix 



195 




*Wien, Akademie 

The Ascension 



Christi Himmelfahrt 

Um 1620 



Auf Holz, H. 0,33, B. 0,32 

L'ascension 



Nach einer Aufnahme von Victor Angerer, Wien 




* Paris, Louvre 

The Sacrifice of Abraham 



Das Opfer Abrahams 

Um 1620 



Auf Holz, H. 0,50, B. 0,65 

Le sacrifice d'Abraham 



196 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 




* Gotha, Herzogi. Museum o er Prophet Elias zum Himmel fahrend Aut Hoiz, h. 0,32, b. 0,43 
The Prophet Elias ascending to Heaven Um 1620 Le prophete Elie ascendant au ciel 

Nach einer Aufnahme von W. Zink & Sohn, Gotha 







- . i ' 




fc^.-< ""1 




"A 


11 i 






A 


. . JK 


^ &l if « 


| ■'*> 


'" 


J 


•■- - up 


1 1L> 






- • . 




^^hr — 


IriS^I 






J9 


^*>v 






ift 


j 


% " 


BB jpjjK 






f b 

§ ( 


" * II 


|| 



'Wien, Akademie Esther VOr AhaSVer Auf Holz, H. 0,49, B. 0,565 

Esther before Ahasverus Um 1620 Esther devant Assuerus 

Nach einer Aufnahme von Victor Angerer, Wien 



197 




'Paris, Louvre Auf Holz, H. 0,33, B. 0,48 

Die Kronung der Maria 
The Coronation of the Virgin Urn 1620 Le couronnement de la Vierge 

Nach eincr Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



198 




* Gotha, Herzogl. Museum [) er heilige AthanasiUS Auf Holz, H. 0,48, B. 0,62 

St. Athanasius Um 1620 St-Athanase 

Nach einer Aufnahme von W. Zink & Sohn, Gotha 




* Gotha, Herzogl. Museum 

St. Basilius 



Der heilige Basilius Aut Hoiz, h. o,48, b. 0,62 

Um 1620 St-Basile 

Nach einer Aufnahme von W. Zink & Sohn, Gotha 



199 




<Wien, Akademie 

St. Cecilia 



Die heilige Cacilie 

Urn 1620 
Nach einer Aufnahme von Victor Angerer, Wien 



Auf Holz, H. 0,28, B. 0,435 

Ste-Cecile 




* Gotha, Herzogl. Museum 



Auf Holz, H. 0,48, B. 0,62 



Der heilige Gregor von Nazianz 
St. Gregory of Nazianz Urn 1620 St-Gregoire de Nazianze 



Nach einer Aufnahme von W. Zink, Gotha 



200 




■YVien, Akademie 

St. Jerome 



Der heilige Hieronymus 

Urn 1620 

Nach einer Aufnahme von J. Lowy, Wien 



" Auf Holz, H. 0,30, 13. 0,455 

St-Jerome 




'■• Gotha, Herzogl. Museum 

St. Augustinus 



Der heilige Augustinus 
Um 1620 

Nach ciner Aulnahmc von W. Zink & Sohu, Gotha 



Auf Holz, H. 0,4S, B. 0,62 

St-Augustin 



Rubens 26 



201 




■ London, Dulwich College Gallery 

The Flight of St. Barbary 



St. Barbaras Flucht 
Um 1620 



Auf Holz, H. 0,32, B. 0,465 

La fuite de Ste-Barbe 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 




* Wien, Akademie 

The Annunciation 



Maria Verkiindigung 
Um 1620 

Nach einer Aufnahme von Victor Angerer, Wien 



Auf Holz, H. 0,32, B. 0,44 

L'annonciation 



202 




: Antwerpen, Museum Auf Holz, H. 4,24- B. 3,10 

Christus am Kreuz (Le coup de lance) 
Christ on the Cross 1620 Christ en croix 

Nach einer Aufnahme von Braun, C16ment & Cie., Dornach (Elsass) 



203 



o 

2 





n> 


o 




O 






i-h 


5' 


z 


n 


a* 




c/>' 




a 




3 


> 




-n 








5 
re 


C 
3 


P 

re 


_i 


=3 




Oi 






IO 


ID 


3 


o 


3 


r 




O 


O: 












Sj 


r 


fl> 


ffi 




n 


3 




3" 



n - 




204 




! Dusseldorf, Sammlung der Kunstakademie Auf Holz, H. 4,23, B. 2,81 

Die Himmelfahrt Maria 
The Assumption of the Virgin Urn 1620 L'assomption de la Vierge 



Nach einer Aufnahme von Otto Renard in Diisseldorf 



205 



f z 



tu 1-1 



o 




n 


Q. 


1! 




3 




CO 






rr 


c 




to 

o 


o 


















a 






era 
re 




r 




3 


> 






r 1 




a 




w 


o 




E 










3 


<<! 






3 


n> 




j^ f . 


a 


C/2 




E 
C/3 




< 



n 

E~ 



s < 



3 
a' 




206 




; "Wien, Hofmuseum Auf Leinwand, H. 2,03, B. 1,57 

Die reuige Magdalena 
St. Magdalen repentant Urn 1620 Ste-Madeleine penitente 

Nach einer^Aufnahme von Franz Hanfstaengl, Miinchen 



207 




8 Muuclien, Alte Pinakolliek Aui Leimvaud, H. 4,34, B. 2,89 

Der Engelsturz 
The Fall ol the rebellious Angels Urn 1620 La chute des anges rebelles 

Nacli einer Aufnahme von F. Bruckmann, A.-G., Miiiiclien 

208 




*Munchen, Alte Pinakothek Auf Leinwand, H. 2,61, B. 2,65 

Graf Thomas von Arundel und seine Gemahlin 
The Earl Thomas of Arundel and his Wife 1620 Le comte Thomas d'Arundel et sa femme 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 27 



209 



2 

3 



Cd 



3 



3 5' 




C/5 

£" 
a* 



OS" ££ 



w 



85 



c 

D. 



erg jjt 

5 ° 

o m 

~* C: 



C 3 

3 <* 

° n 

CL 

o. cr 
» 2 

D-"> (jrq 

wi2 a 



■ ■ n 
O-o 

n> o 

O C _ 

aq ^ cm 

(D 

(TO - 

C 



O - 




210 



m *9 ^^l^zzM 


It ~^tf 






i jib 












. 


V ■■ 


^t^ ■ £& 




"■ n&k ** 


**mi 




JH 




y ii 




i • 


4 ^ 


^^^P c'v»* 








^^^jn| 


PMif 


- %m 




:«&£*, 'J-;'- € 




^*« 





5 o 

n <m 

re «= 

u P 

re 3 
CQ 



J3 

a, 

E 
e .5 
3! E- 

I £ 

&0 £-^ 



211 



H 



TO 



TO 

c 



^2 

IO M 
O 

o 

S" 

p. 



Si 
OTQ 
Cu 



t- 1 
(T> 



o 



0. 




212 




o 



_1 



•a 



T3 

.E ° 
TO t— c 

C E 
to 3 

TO 



ccr 



c 






213 



H 


- 


ET 


i*^ 


fD 




n 





tr 


C 



o 



5' 



3 S 



Crq 
Q. 



TO 




214 




■2 C 
5 -W 



- M 






.2* 
IS 

(75 






215 



H 

ST 






n 



o 


U 


a 






fL> 




e_ 




03 




era 




Q. 




Q. 




a> 




VI 


c 


pr 


g 


w 


_! 


^ 


to 


Q. 
O 




3 



a" 



r. P- 




216 







a 
*!-■ 

>, o 

W g 

C E 

3 D 



c 

•a 

c 
re 



Rubens 28 



217 






JQ 



O 

o" 
cr 



a 



G < 
3 ?S' 



k - sr 









o 

3 
D. 
re 




218 




x -5 

o 

<U 

s ° 

CU CO 

T3 - 

.S E 

X D 
co 



™ O 

« -a 



u 



^^^ 


* M 1 ^k. 


Bs *x 111 i 




-^H Bfe^, lEi 





CO «•» 



S 5 



219 



> 



3 



3" 
n 






> 



C 
3 

n. 

3 W 

°3 

S3 



> 






^ x 



a. 




220 




o 

U 



E 






o 

J5 






>> 

2 



221 




1 Glasgow, Corporation Art Gallery 



Auf Holz, H. 1.08, B. 0,72 



Die Natur wird von den Grazien geschmiickt 
The Nature attired by the three Graces Um 1620 La Nature paree par les trois Graces 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



222 




3 

•o 



3 



«- E 
o 



c 
o 

M 

o 
O 



J5 



223 




'London, Nationalgalerie Auf Holz, H. 0,77, B. 0,53 

Susanna Fourment („Le chapeau de paille") 
Susan Fourment Um 1620 Susanne Fourment 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



224 




*Antwerpen, Museum 

The Holy Trinity 



Die heilige Dreifaltigkeit 

Urn 1620—1621 
Nacli einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Auf Holz, H. 1,59, B. 1,52 

La sainte Trinite 



Rubens 29 



225 



o 



O ._. — 



r- 


3" 


P. 


ro 






~ 


Oro 




n> 






1 


-Tl 


- 
to 


"-t 
SB 

3 




N 








frt 




~ 




S 




H 




3* 




ft) 


C: 


< 


" 










trq 


X 


3 


ffq 


5 s 


«: 










3* 








n 


y 


3" 





o 


O. 


1 


rc> 




R 






to 

4- 


* 








3 




Q. 


r 


n> 


p 




< 





S. CD 




226 




* Kassel, Kgl. Galerie Auf Leinwand, H. 2,57, B. 2,02 

Die Madonna, von vier bussfertigen Stindern und Heiligen verehrt 

The Madonna adored by lour Penitents „ 1620-1625 La Vier S e adoree par quatre penitents 
and Saints et par des Saints 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



227 




Budapest, Nationalgalerie 



Auf Leinwand, H. 1,87, B. 1,56 



Mucius Scaevola vor Porsenna 
Mucius Scaevola before Porsenna Urn 1620—1626 Mucius Scevola devant Porsenna 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



228 




- Paris, Louvre Auf Holz, H. 0,85, B. 0,65 

Die Madonna im Blumenkranz 

1621 
The Madonna in a Garland of Flowers La Vierge entouree d'une guirlande de fleurs 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



229 



3 
2. 
n 

o 

3 



m 

C H 

3 p 

en 
I O 

S £. 

3 



3 



n 

o 

3 




230 




u 



o 



u 



.- I 



u|| 



bo 
o 

c 
o 



o 
c 
o 

S 



231 



CD 



3 




JO 



> 
3 



< 
O 
3 

o 






•T] 



3 




232 




* Madrid, Prado-Museum 



Maria de' Medici 
Um 1621—1625 



Auf Leinwand, H. 1,30, B. 1,08 



Nach einer Aufnahme von Braun, CISment & Cie., Dornach (Elsass) 



Rubens 30 



233 




234 



* Paris, Louvre Auf Leimvand, H. 3,94, B. 1,55 

Die Geschichte der Maria von Medici 

1621—1625 

1. Das Schicksal der Maria von Medici 

The Story of Mary of Medici L'histoire de Marie de Medicis 

1. The Destiny of Mary of Medici 1. La destinee de Marie de Medicis 




Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 

2. Die Geburt der Maria von Medici 

The Story of Mary of Medici L'histoire de Marie de Medicis 

2. The Birth of Mary of Medici 2. La naissance de Marie de Medicis 



235 




Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 

3. Die Erziehung der Maria von Medici 

The Story of Mary of Medici L'histoire de Marie de Medicis 

3. The Education of Mary of Medici 3. L'education de Marie de Medicis 



236 




Paris, Louvre Auf Leinwand, H. 3,94, B. 2,95 

Die Geschichte der Maria von Medici 

Um 1621—1625 

4. Heinrich IV. empfangt das Bildnis der Maria von Medici 

The Story of Mary of Medici L'histoire de Marie de Medicis 

4. Henry IV receiving the Portrait of Mary of Medici 4. Henri IV recoit le portrait de Marie de Medicis 



237 




; Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 

5. Die Vermahlung der Maria von Medici 

The Story of Mary of Medici L'histoire de Marie de Medicis 

5. The Marriage of Mary of Medici 5. Le mariage de Marie de Medicis 



238 




: ' Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 

6. Die Ausschiffung der Maria von Medici im Hafen von Marseille 

The Story of Mary of Medici L'histoire de Marie de Medicis 

6. The Landing of Mary of Medici in the Harbour Le debarquement de Marie de Medicis au port 



of Marseilles 



de Marseille 



239 




* Paris. Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 

7. Die Vermahlung Heinrichs IV. mit Maria von Medici 

The Story of Mary of Medici L'histoire de Marie de Medicis 

7. The Marriage of Henry IV and Mary of Medici 7. Le mariage de Henri IV avec Marie de Medicis 



240 




'Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 
8. Die Geburt Ludwigs XIII. in Fontaineblau 

The Story of Mary of Medici L'histoire de Marie de Medicis 

8. The Birth of Louis XIII at Fontainebleau 8. La naissance de Louis XIII a Fontainebleau 



Rubens 31 



241 




Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 
1621—1627 

9, Heinrich IV. zieht in den Krieg nach Deutschland 

The Story of Mary of Medici L'histoire de Marie de Medicis 

9. Henry IV going to War in Germany 9. Henri IV part pour la guerre d'AIIemagne 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



242 




" 2 



o < 

> a 

.2 I 

CS LO •£ 



o 



5 £ 
£ ° 

•4-. ^ 

O « 

>,£ 

i° 

u_ o 

o s 



J3 X! 

E- t- 



243 



§: o 



3 -" 
< 0. 





c^ 






r; 


O 






n>" 


n> 


o 

3- 


a. 


re* 
o 


s 


n> 


BJ 










D. 


id 


a 


a 


B 


IT) 


— . 


£ 


< 


ID. 



a 






S " 




244 




£ - 

o) a* 



< rH (a) 

1-1 _L 3 

•Sis 



43 
O 



Of 

a 









245 




* Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 
13. Die Reise der Konigin nach Ponts-de-Ce 

The Story of Mary of Medici L'histoire de Marie de Medicis 

13. The Journey of the Queen to Ponts-de-Ce 13. Le voyage de la reine a Ponts-de-Ce 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



246 




5 Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 
14. Die Auswechslung der beiden Prinzessinnen auf dem Andaye-Flusse 

The Story of Mary of Medici L'histoire de Marie de Medicis 

14. The Exchange of the Princesses on the 14. L'echange des deux princesses sur la 

Andaye River riviere d'Andaye 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



247 




* Paris, Louvre Auf Leinwand, H. 3,94, B. 2,95 

Die Geschichte der Maria von Medici 

1621-1625 

15. Die gltickliche Regierung 

The Story of Mary of Medici L'histbire de Marie de Medicis 

15. The prosperous Government 15. La felicite de la regence 



248 




f Paris. Louvre 



Auf Leimvand, H. 3,94, B. 2,95 



Die Geschichte der Maria von Medici 

1621—1625 

16. Die Grossjahrigkeit Ludwigs XIII. 

The Story of Mary of Medici L'histoire de Marie de Medicis 

16. The Majority of Louis XIII 16. La majorite de Louis XIII 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 32 



249 




Auf Leinwand, H. 3,94, B. 2,95 



* Paris, Louvre 

Die Geschichte der Maria von Medici 

1621—1625 

17. Die Flucht der Konigin aus dem Schloss von Blois 

The Story of Mary of Medici L'histoire de Marie de Media's 

17. The Flight of the Queen from the Castle of Blois 17. La reine s'enfuit du chateau de Blois 



250 




• Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,96 



Die Geschichte der Maria von Medici 

1621—1625 
18. Versohnung der Maria von Medici mit ihrem Sohn 

The Story of Mary of Medici L'histoire de Marie de Medici's 

18. The Reconciliation of Mary of Medici with her Son 18. Reconciliation de Marie de Medicis avec son fils 



251 




Paris. Louvre 



Auf Leinwand, H. 3,94, B. 2,96 



Die Geschichte der Maria von Medici 

. 1621—1625 
19. Der Friedensschluss 
The Story of Mary of Medici L'histoire de Marie de Medicis 

19. The Conclusion of Peace 19. La conclusion de la paix 



252 




Paris, Louvre 



Auf Leinwand, H. 3,94, B. 2,85 



Die Geschichte der Maria von Medici 

1621—1625 
20. Zusammenkunft der Maria von Medici mit ihrem Sonne 

The Stoiy of Mary of Medici L'histoire de Marie de Medicis 

20. Interview of Mary of Medici and her Son 20. Entrevue de Marie de Medicis et de son fils 

Nach einer Aufnahme von Braun, CISment & Cie., Dornach (Elsass) 



253 




254 



Paris, Louvre Auf Leinwand, H. 3,94, B. 1,60 

Die Geschichte der Maria von Medici 

1621—1625 

21. Der Triumph der Wahrheit 

The Story of Mary of Medici L'histoire de Marie de Medicis 

21. The Triumph of the Truth 21. Le triomphe de la verite 




' Munchen, Alte Pinakothek Auf Holz, H. 0,64, B. 0,50 

Maria von Medici verlasst Paris 

Um 1622 
Maria of Medici quiting Paris Marie de Medicis quittant Paris 

Nach einer Aufnahme von F. Bruckmann, A.-G., Miinchen 



255 





* Paris, Louvre Auf Leinwand, H. 2,47, B. 1,17 

Johanna von Oesterreich, Grossherzogin 

von Toskana 

Um 1621—1625 

Jane of Austria, Grand-duchess of Toscany 

Jeanne d'Autriche, grande-duchesse de Toscane 



* Paris, Louvre Auf Leinwand, H. 2,47, B. 1,17 

Franz von Medici, Grossherzog 
von Toskana 

Um 1621—1625 
Francis of Medici, Grand-duke of Toscany 
Francois de Medicis, grand-due de Toscane 



Nach Aufnahmen von Braun, Clement & Cie., Dornacli (Elass) 



256 







w.'^.'t'"- ; ''-": : ' : "23 


^B|ff8H(p»rS 


^^% ... 




--*; 


J| 






I --4i 


WgMMsBn*. 


EL 




i 


j^^lH^*" 




Hk. ^^1' 






^2k«jsh^* " i v rM$^^'-^^ 


v J 


" • 1 







J3 



3 

cq 

c 
o 
> 

bo 

o 



Q ■§ 




CQ 



Rubens 33 



257 




Madrid, Prado-Museum Auf Leinwand, H. 1,29, B. 1,06 

Anna von Oesterreich, Gemahlin Ludwigs XIII. 
Anne of Austria, Wife of Louis XIII Um 1625 Anne d'Autriche, femme de Louis XIII 

Nach einer Aufnahme von Braun, CISment & Cie., Dornach (Elsass) 



258 




o 
a. 
< 



e 

TO 

Q <G 

TO I 

s? « 

CD CD 
> - 

o 
a. 
< 



o 
< 



259 



3 




= 












-v 






n 


T 




n> 


ti> 


O 
o 


> 


w 




T 1 


ro 


a 


3 



o 



3 ~ 
a g 

3 3 




fl> ™ 

o n 



3 



< 




260 





gSR*! 




". •*.■■ ff|§| 


K^wQS 


' 3 ^'"' ':. -:.V • 


^■V7> 






V ' 4S V jfl 


' : -&-:^:-*i'~-%*l£* H^S 


Mp't-tt^M 



CO c* 



= E 




< ~ 



£: 



E _- 



o 
u 



E? 
> 






261 




Petersburg, Eremltage 



Isabella Brant 
Urn 1623 



Auf Leinwand, H. 1,53, B. 1,77 



Nach einer Aufnahme von Franz Hanistaengl, Munchen 



262 




*Antwerpen, Museum 



Auf Holz, H. 4,47, B. 2,35 

L'adoration des rois 

Nach einer Aufnahme von Braun, Clement & Cle., Dornach (Elsass) 



Die Anbetung der Konige 
The Adoration of the Magi 1624 



263 




1 Berlin, Kgl. Museum Auf Leinwand, H. 2,63, B. 1,96 

Die Auferweckung des Lazarus 
The Resurrection of Lazarus Um 1624 La resurrection de Lazare 

Nach elner Aufnahme von Franz Hanfstaengl, Miinchen 



264 







B 
o 
•a 
o 

CO 



o 

-J 

o 

3 

E 



o 






J3 



Rubens 34 



265 



a £ 

T3 



CD 

3 

(15 

3 

O. 
n> 

13 




266 













- - '; 


1 


'•!Mj 








W* ■ ' 4 


*-* 




f^'fjir. 




L 




M ' J ' 




■'-;j| 


1 


^Vk 


lit 


i * 


• 'i*^ 




: ^jj^j 


l 


i 


1 • , 
1 






w* 




• : * i 



o % 






B 




n 


3J 


w 


0. 








o 








00 




B 


to 










<U 


B 




C/D 


LJ 


C3 


E 




c 


•a 







CQ 




00 



cu 



'£ I 



267 




Stockholm, Nationalmuseum SilTlSOn Zerreisst ddl LOWeH Auf Holz, H. 0,35, B. 0,46 

Samson tearing the Lion Um 1625 Samson dechirant le lion 




Amsterdam, Reichsmuseum Auf Leinwand, H. 1,55, B. 1,8' 

Cimon und Pero (Caritas romana) 
Cimon and Pero Um 1625 Cimon et Pero 



268 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 




so 
IS 

a. 



B 





.2 
'5 

O) 

c P 
C 

o 
S 
U 



n 
o 

E 

o 



269 



b on o 

o> ~ B 



5 3 




s- 



ryi 


a 


w 


c 














B" 


3 




P. 




> 




3 



OS £3 en 

3 

* 3 




270 




Paris, Louvre 

Susan Fourment 



Susanna Fourment 
Um 1625 



Auf Holz, H. 0,62, B. 0,47 

Suzanne Fourment 



271 



TO 



n o tO to 



re w 

<" 5- 
E? S 
w J. 
o*3 



3 



to TJ 
Cn 



m 



|2« 
£ _ op 

ro | 3 

g £?' « 

a- 5- » 

~ <* n> 

" o. I— 




s 


CD 


3 


31 




Q. 




3 








C/3 




(T> 






r, 


3 


3 


fD 
C/3 






OS 


w 












(T> 




3. 


"0 
o 






272 




'• Paris, Durand-Ruel 



Ambrogio Spinola 

Um 1625 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Rubens 35 



273 




* Braunschweig, Herzogl. Museum 



Ambrogio Spinola 

1625—1628 



Auf Holz, H. 1,175, B. 0,85 



Nach einer Aufnahme von F. Bruckmann, A.-G., Miinchen 



274 




Antwerpen, Museum Auf Holz, H. 1,04, B. 0,74 

Bildnis eines Marines 
Portrait of a Man Um 1625 Portrait d'homme 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



275 




1 Wien, Hofmuseum Auf Holz, H. 0,92, B. 0,76 

Der heilige Pipin und die heilige Bega 
SS. Pipin and Bega Urn 1625 St-Pepin et Ste-Begue 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



276 




^Antwerpen, Museum 



Auf Leinwand, H. 1,93, B. 1,40 



Die Erziehung der heiligen Jungfrau 
The Education of the Virgin Urn 1625—1626 L'education de la Vierge 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



277 




'■ Wien, Fiirstl. Liechtensteinsche Galerie 

Albert und Nikolaus Rubens 
Um 1625—1626 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Auf Holz, H. 1,58, B. 0,92 



278 




: ' Augsburg, Heilig-Kreuzkirche 



Auf Leinwand, H. 3,67, B. 2,30 



Hitnmelfahrt Maria 
The Assumption of the Virgin Um 1625—1627 L'assomption de la Vierge 

Nach einer Aufnahme von Fr. Hofle, Augsburg 



279 



3* 






o 

3 5 - 

en 3* 
C/5 



3 

o 

cr 
n> 

o. 
on 




280 




"San Francisco, W. H. Crocker 

The Holy Family 



Die heilige Familie 

Urn 1625—1628 
Mit Genehmigung von Charles Sedelmeyer, Paris 



Auf Holz, H. 1,045, B. 0,73 

La sainte familie 



Rubens 36 



281 



a! 3 
a 
3 
•o 

3 



p. T3 

o p* 



> 

G n> 
3 3 

I - 

00 5- 



5- S 

3 N 
i- 3 rn 



51 £ 




282 



■ : _ 1 


■■ -v - 


~ 








■^f^B^^' "^'f-' ^^BB 






T-.af -«*■ •-' 


a\ ^^ .^^tmgm 






* 


raf. *^^>" h F^ftT**^ dflBESfe - -^ ^HgIqPh WnHfiWS 


-•'' ' A 


wzJJk B^sa^ pi^ P^ . : ~- w 




KhBH rV:'->.''<wkBl^Ar. AhV^.'-iS 




• 


■'iisx^' ■■■\ '"' "■ ^SSfcv t ^*.*..' H : 


' ^, "- -- if/i * 




■AS? 


\ ^. / 55 > " "* *j$^Mf& 


./^ 


^Bt ■■ ■■' v.^^*T 'jf^''- v /■ \" - ""■* ^**-' ■ > ' 'jt ^j« 


£r>- . .-.-•• •- 


Wiiii«/^": : \ 




.- 


".""""' '■ 


^ ■ -■ *-' ■ ... • - • . ■ ' ■ ■ ■••■' ■ ■"■•■ 





* Madrid, Prado-Museum Auf Holz, H. 0,86, B. 0,91 

Der Triumph des Abendmahls iiber die Ketzerei 
The Sacrement triumphant over the Heresy Le triomphe de l'eucharistie sur l'heresie 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



283 



m 5 ' o 

S3 "> 
|» h 

Sag- 

c/> o 3 

S =r 

o "> 

I > 

fi cr 

rr> it 

B S. 

o. 3 
5T 

C: 

cr 



3~ 3 



m 


3 


O. 


Q. 


(T> 




*— H- 


< 




ei 


< c 


cr 


C 3" 




crq K> 


3 




™ v>' 


C 


n> a> 


a 


3 


OTQ 




284 




^Madrid, Prado-Museum 



Auf Holz, H. 0,86, B. 0,91 



Der Triumph der gottlichen Liebe 

Um 1626—1628 
The Triumph of the divine Love Le triomphe de l'amour divin 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



285 



0*5 
O 



> 



S D 

CD —• 
f l-H 



TO 

c 

3 



I 3 



r*- r- 




286 







* 


*^T1 










. ■ '.-' ?*^F * '.■ . 


..:- - j^,. 




"SL * H9f jp jf '->' jM 




Ate 




■ J 

- - : ''■■"' i " : "'-u 




X 











* Madrid, Prado-Museum Auf Holz, H. 0,86, B. 0,91 

Die vier Evangelisten 
The four Evangelists Um 1626—1628 Les quatre evangelistes 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 






287 




Madrid, Prado-Museum 



Auf Holz, H. 0,8(i, B. 0,91 



Die Verteidiger des Abendmahls 

Urn 1626—1628 

The Defenders of the Sacrement Les defenseurs de l'eucharistie 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



288 




: " London, Charles Butler 

Portrait of a Lady 



Bildnis einer Dame 

Um 1625—1628 



Auf Leinwand, H. 1,12, B. 0,83 

Portrait d'une dame 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



Rubens 37 



289 




Miinchen, Alte Pinakotliek Auf Leinwand, H. 1,038, B. 0,7S 

Bildnis eines Franziskanermonchs 

Um 1625—1630 

Portrait of a Franciscan Monk Portrait d'un moine franciscain 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



290 




Antwerpen, Kathedrale 



Auf Holz, H. 4,90, B. 3,25 



Die Himmelfahrt Maria 
The Assumption of the Virgin 1626 L'assomption de la Vierge 



291 




* Paris, Louvre 



Auf Leinwand, H. 2,80, B. 2,18 

L'adoration des rois 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Die Anbetung der Konige 
The Adoration of the Magi Urn 1626-1627 



292 




: " Madrid, Prado-Museum 



Auf Leinwand, H. 2,23, B. 1,62 



Drei Nymphen mit Fiillhorn 

Urn 1626—1628 
Three Nymphs with the Horn of Plenty Trois nymphes avec la come d'abondance 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



293 



n 


c/) 


M 


> 


5' 


H 










in 


r-K 








= 




o. 


< 

o 

3 
11 


r _ 
» c 


re 

3 


< 3 


- 


§ 


ffq S 


3 


T 


CD 






3 


a 


Sf 


o 


c 



OP 
3 




2 






2 < oo 






3 

C 



2. a: 



CfQ 

3 




294 




* Antwerpen, Augustinerkirche Auf Leinwand, H. 5,64, B. 4,01 

Die Madonna, von Heiligen verehrt 
The Madonna adored by Saints 1628 La Vierge adoree par des Saints et Saintes 



295 




Madrid, Prado-Museum Auf Leinwand, H. 1,15, B. 0,90 

Die heilige Familie 
The Holy Family Urn 1626-1630 La sainte familie 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



296 







1 <M 

Uh CO 

*rj oo 
£ °" 

M E 



•a 
n 



Rubens 38 



297 




•Madrid, Prado-Museum Auf Leinwand, H. 3,14, B. 2,28 

Philipp II., Konig von Spanien 
Philip II, King of Spain Um 1628—1629 Philippe II, roi d'Espagne 



Nach einer Aufnahme von Lacoste y Cia., Madrid 



298 




a, 

CO 



I > 



J5 

.2? 
'5 
••o 



a 
o 

O 

P3 

a 
o 
> 



Q. <U 

■37 n 

Si « 

gM 

Si -a 
a™ 
. o 



2 c 



a a. 
j a. 



O - 

•£> 



o <u 

CD O. 

a. 

__ -G 



•s ' 

^ 00 

o 



£.5 



c.5 



i "S<^ 



PJ 




3 .Z 


a, 


< c 


u. 


ra 




a. 


-C 


CO 


a. 


c 









> m 




<M 




MS 




c 1 




:0 00 




X <o 





> 

a. 
a, 



•3 J3 
s cu 



G 

2 



299 



s rn 



S~ P" 2 



Orq w 


<i> 








C/3 

55" 


T3 n> 


O 


s-a. 

13 


3 


3* 


fu 



E: 3* 





00 

| 


O: 








3 






t-' 


fro 




w 


ID 


<*> 












las;- 




T) 




CT(a 




rr 




SID- 


















13 




n> - 




13 




"313 




,__ 




-*«55 




< 


> 


3| 




< 


a 


alii- 




O 
3 










^ 




GO 

13 


o 


C7Q C 




Ci 


ryi 


3 S 




3 




n> "> 




™ 


a 




o S- 



*o o 







o 








O 








3 




CL 


a 


T1 






d 


CD 








a 














to 

00 

I 


3 
05 

3 








a 






[■■ 








to 


< 
o 




r 




3 




ET 




GO 


> 






~o 








M 




p.i 




3 


r- 










£a 




3 


= 


-o o 








B> 3 








w l-H 






a 



n> S 




300 




Braunschweig, Herzogl. Museum 

Portrait of a Man 



Bildnis eines Marines 

Um 1628—1630 
Nach einer Aufnahme von F. Bruckmann, A.-O., Miinchen 



Auf Holz, H. 1,055, B. 0,725 

Portrait d'homme 



301 



# l 














L\ ; s- 1 


■ ;. 1 






VS:M; 


■;V\ ■ ■.:, ■ 
'-,i-r,r {I 


^\ka 


1 ■ - X ; 

"ir ■ . ■ 




^ 


Ik W'- ■ 




* 5 


*• 


,»""■*: : > 




fc 


1 < 1 


ST * U 










'^Hc 


^ I J 


^dgtr n 




1 


||/<^ 


If 






... 






>; * 


i 


f % 




I 




, 




jp#tK 




•j 
- ■ \ 










Wf '«KeH 


\ 






; 












; 


• :: 






J& 


■ 


. 


,'■''■ 







*Ant\verpen, Museum 



Caspar Gevaitius (Gevaerts) 

Urn 1628—1630 



Auf Holz, H. 1,20, B. 0,99 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



302 




l-l 

> 



CO 


to 

7 


CD 

•o 


CO 


e 


s 



> 






303 



X 

3 
< 



ra 





a 




m 




3* 




3 




rD 




< 


r, 


O 


B 


3 


^ 


ti 


00 


a 


| 


tn 






(X 


Q. 


Cw 


C 




304 






C 


>> 


£ 


> 


(L) 




T3 






Ol 


<U 


XI 


v o> 










J3 



G 
W 



> 



w 



Rubens 39 



305 



03 



n 



o 



o 

CO SL 



3 ET 



o 



n 

o 

c 




3 E 
as 
c w 



r 
CTQ | 

o I I 






2 S 



OP 
C: 

C 3 
to 

T ° 

"CfQ 
3 



c — a 



■• o 
•a 

-a 
o 




306 




f Boston, Mrs. Gardner-Museum 



Thomas Earl of Arundel 



Thomas Graf von Arundel 

Um 1629—1630 



Auf Leinwand, H. 1,27, B. 1,02 



Thomas comte d' Arundel 



Nach einer Aufnahme von T. E. Marr, Boston. Copyright 1904 



307 



X> 



C CO 

3 2. 

en en 
to r± 

Co CX 

4- 

C5 i-t 
CO 3 




> 

O 
pi 

c 

3- 



ra 



CD 




ft 








CO 




H 






o 


o 




— 








IT 




n> 


Q* 


G 

3 


ex 






a> 




a-. 


(A 



ca 



O 
cr 




308 




bo 



O 



bo 



O o 

CO 

bp | 



O 



309 




'Kopenhagen, Kgl. Galerie 



Auf Holz, H. 1,20, B. 1,04 



Matthaus Yrsselius 
Um 1630 



310 




're 



3 

o 



-a -' 
c E 
3 3 



■a 

c 



311 



pr 



3 3 
S H 

° 0Q 

3 
O. 

c 

3 



. 


fi • 


" " : -^p| ■ ■ ^jHp : '" •• 


^P} JpvNis 


* Sn * Ik 


, T ' f % 


K 


l"T 






• nfl^ «3l '•"">;'? Jill . 

k WT WSm' ' '- s Jp 





312 




f Petersburg, Eremitage Auf Holz, H. 0,90, B. 0,56 

Die Apotheose Jakobs I. 
The Apotheosis of Jacob I. Um 1630—1634 L'apotheose de Jacques I 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Rubens 40 



313 




"Wien, Akademie 



Auf Holz, H. 0,645, B. 0,465 



Die gliickliche Regierung Jakobs I. 

Urn 1630—1634 

The Benefits of the Government of Jacob I. Les bienfaits du gouvernement de Jacques I 



Nach einer Aufnahme von Victor Angerer, Wien 



314 




■ Petersburg, Eremitage 



Auf Holz, H. 0,64, B. 0,49 



Jakob I. bestimmt seinen Sohn Karl zum Konig von Schottland 

Urn 1630—1634 

Jacob I. destining his Son Charles for Jacques I designant son fils Charles 

King of Scotland comme roi d'Ecosse 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



315 



*o 

OS ""O 

° o 
< 




> 


<T> 


n 










< 


<T> 


1 


<2 

5' 


O: 


■< 


C 


3 


3 
"0 


3 


3 
0-Q 








3 


CO 

o 


Q. 


3 


r 


rt> 


3. 


n 
o 


35 


n> 


c 


£ > 

i— . - 


173 




&3 "* 




316 




* Petersburg, Eremitage Auf Leinwand, H. 1,74, B. 1,17 

Susanna Fourment und ihre Tochter Katharina 
Susan Fourment and her Daughter Um 1630 Suzanne Fourment et sa fille 



Catherine 



Catherine 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



317 



ZT ffq 
n 2. 

D3 S" 



< 

3 



a 



c O 
3 cr 



,L CD 



< 



5 M 













F/jTOTOffiTOg^^ 



318 



'':■.- ' ' ' '■'.'-' 




BBF^ 






W^m 




^k ^H i';.y '-2 




^^ 




Bwi-^jJ^vfM 




Ik. *V J 


J j 


B^r Awd ' - 


' HEr ^W 


V ^^T^MK*i 


^J 


'-."■^Ks^^t ^H'-" ; ,'"i.-. I v' 




Hlk. A. 




■L&j^H 



<u _ 
E « 

3 7 
t2s 



.2 a 




319 



» 



3 

Is 

3 3 



B> 



0Q 



3' P3 
n 



c 



C 2 



o 

e 



3 
O 



C 3 
a* 



p 


I — 






B 


3 


w 




<T> 


^ 


c 


c 


w' 


5 




3 






3 


r/» 




ft) 




•n 








o 




3 




320 




Munchen, Alte Pinakothek 



Helene Fourment 
Urn 1630—1631 



Auf Holz, H. 1,60, B. 1,34 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 41 



321 



-A 
o 



c 3 

3 en' 

5) CD 

S 3' 

,1. ™ 

S _ 

S3 D 







N I— • 



G 
3 


3 


_ 


n> 


OS 




CO 


T 


1 


O 




c 









■*:,' 












•■ 










"■■ 






•i 3^1 jH 


1 

I 


■ 




life 




.^usasm- 


44 


i 




^gt 








_j 


■ 3* A" 






llSra .:....;:• ■ 



322 




^Wien, Hofmuseum 



Auf Holz, H. 1,75, B.0,96 



Helene Fourment im Pelzrock 

Urn 1630-1631 
Helena Fourment in a Fur-coat . Helene Fourment a la pelisse 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



323 



3* 

*5" 



o 



c 


K 


y 


w 




< 






CJ 


p 










N- 


C/5 



r 
o" 



3 



< 

3 

3 




324 




Berlin, K'gl. .Museu 



Der Tod des Achilles 
The Death of Achilles Um 1630-1632 

Mit Genehmigung von Charles Sedelmeyer, Paris 



Auf Leinwand, H. 0,47, B. 0,47 

La mort d'Achille 



325 



n 



s§ 



Q. 

O 

3 



a- 



'5- 



3 3 2. 



n 

i- o 




326 







bo 



< 

a 



327 



imftr 








g«J 




■ 'I ■ V,' 




'*$. 


^*^|*§ 


■I^P^H 




1 " ' 


»~**-7i^* *%^ 








B5T^ Ir^l v *\3^j^^^^I^^B 


^ 


VmmMm 


4* ■' 


' 


r 


' ^% : . 




p 


r ^^ TL 


Jpr 






'A 




Jpf^ 


p% 




*"** T 




g 


p 


"' 


' 1 i 



' Wien, Hofmuseum 



Auf Holz, H. 3,53, B. 2,33 



Die heilige Familie unter dem Apfelbaum 
The Holy Family under the Apple-tree 1630—1632 La sainte familie sous le pommier 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



328 




f Dresden, Kg!. Galerie Auf Holz, H. 0,645, B. 0,7.3 

Das Wunder des heiligen Franz de Paula 
The Miracle of St. Francis de Paula Um 1630—1632 Le miracle de St-Francois de Paule 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Rubens 42 



329 



CO 

— t 



C S3 












~ 




O 




•n 


u 




3 


n> 








3 


CO 


n> 


O 


UD 




o 


Co 

en 


o 




330 




T3 <u 

5 Q 



O 



a 


O 


U- 


n r„ 










OJ 




^ 


*£ 


N 






SjO 












< 




.5 S 



CQ 



331 



H 

n 



pa 






X! 



D. 

o 



3 S ."? 



D- 




332 




-Wien, Baron Hermann Kbnigswarter 



Frederic de Marselaer 

Um 1630—1635 



Auf Holz, H. 0,66, B. 0,51 



Mit Genehmigung von Charles Sedelmeyer, Paris 



333 




Petersburg, Eremitage 



Helene Fourment 
Um 1631—1632 



Auf Holz, H. 1,87, B. 0,86 



Nacli einer Aufnahme von. Franz Hanfstaengl, Miinclien 



334 




= o a 

< i- -a> 

I > 

■a 



S = 




335 




*Kassel, Kgl. Galerie Auf Leinwand, H. 2,48, B. 1,96 

Diana mit Nymphen von Satyrn uberfallen 

Diana and her Nymphs surprised Um 1632 Diane et ses nymphes surprises par 

by Fauns des faunes 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



336 




* Windsor, Kgl. Schloss 



Helene Fourment (?) 

Um 1632 



Auf Holz, H. 0,85, B. 0,60 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 43 



337 




Braunschweig, Herzogl. Museum Auf Holz, H. 1,17, B. 1,08 

Judith mit dem Haupte des Holofernes 
Judith with the Head of Holofernes Urn 1632—1635 Judith tenant la tete d'Holopherne 

Nach einer Aufnahme von F. Bruckmann, Miinchen 



338 




: " Paris, Baron Edmund von Rothschild 



The Plenty 



Der Ueberfluss 

Um 1632—1635 



Auf Leinwand, H. 2,28, B. 2,24 

L'abondance 



339 




'Paris, Louvre 



Thomyris and Cyrus 



Thomyris und Cyrus 



Auf Leinwand, H. 2,63, B. 1,99 

Thomyris et Cyrus 



Um 1633 
Nach elner Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



340 




s Paris, Baron Alphons von Rothschild Auf Holz, H. 2,03, B. 1,76 

Rubens mit seiner Gattin Helene Fourment und ihrem Erstgeborenen 
Rubens, his Wife Helena Fourment and Rubens avec sa femme Helene Fourment et 



her First-born 



Um 1633 



leur premier-ne 



341 




* Antwerpen, Museum Auf Holz, H. 1,93, B. 1,39 

Die heilige Therese fur die Seelen im Fegefeuer bittend 

St. Theresa praying for the Souls Urn 1633—1635 Sainte Therese priant pour les ames 

in the Purgatory au purgatoire 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



342 





^ 

"^r*^ 1 ^^^ 


fci"- 


^|^-_ 




^ 




» 





o 




CQ 



a 
2 



o 


« 






ao 




« 


O 


c 


-"-■ 
















Vh 




O 


Q 


eu 



343 



c 



3 






13 



era 

c 



re 

> 

n 




344 




* Petersburg, Eremitage Auf Holz, H. 0,73, B. 0,78 

Die Siege des Kardinal-Infanten Ferdinand 

1634-1635 

The Victories of the Cardinal-infant Ferdinand Les victoires du cardinal-infant Ferdinand 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Rubens 44 



345 




* Dresden, Kgl. Galerie 



Quos ego! 

1634-1635 



Auf Leinwand, H. 3,26, B. 3,845 



Nach einer Aufnahme von F. O. Brockmann's Naclif., R. Tamme, Dresden 



346 




* Wien, Hofmuseum Auf Leinwand, H. 3,28, B.3,S 

Konig Ferdinand von Ungarn trifft mit dem Kardinal-Infanten Ferdinand bei Nordlingen zusammen 

1634—1635 
The Meeting of Ferdinand, King of Hungary and La rencontre du roi Ferdinand d'Hongrie et du 

the Cardinal-infant at Nordlingen " cardinal-infant a Nordlingen 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



347 



> 


tn 


c 


N 


Cfl 


~ 




IT) 


P 


N 




O 




TO 




> 








CT- 


OJ 


(T) 






| 


<- *- 




<! 


:,; 


O 


Cn 


3 




O 




o 



~ ■* 



c 3- 




^- CTQ 



3 3- 



I * 



Oi 


<1 




O 




3 




r/o 




-a 


t- 


01 

3 


3 


3 




348 




3 





X> 


C/3 


K 








o 


u_ 


O) 



349 



> 



en r- 

2 § 
I p. 

3' 

u 
3 




O 



»-t 

03 
o 
era 






EL c 

rcT " 




350 




a 



u 



X 






u 







.^ ^ 



E 



351 




:< Petersburg, Eremitage Auf Holz, H. 0,69, B. 0,70 

Apotheose der Erzherzogin Isabella 

1634-1635 
The Apotheosis of the Archduchess Isabel L'apotheose de l'archiduchesse Isabelle 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



352 





* Wien, Hofmuseum Auf Leinwand, H. 2,60, B. 1,13 

Ferdinand, Konig von Ungarn 

Um 1634—1635 

Ferdinand, King of Hungary 

Ferdinand, roi d'Hongrie 

Nach einer Aufnahme von J. Ldwy, Wien 



* Wien, Hofmuseum Auf Leinwand, H. 2,60, B. 1,12 

Der Kardinal-Infant Ferdinand 

von Spanien 

1634—1635 

The Cardinal-infant Ferdinand of Spain 

Le cardinal-infant Ferdinand d'Espagne 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



Rubens 45 



353 




'Petersburg, Eremitage Auf Leinwand, H. 1,50, B. 0,73 

Der Triumph des Kardinal-Infanten Ferdinand 

1634—1635 

The Triumph of the Cardinal-infant Ferdinand Le triomphe du cardinal-infant Ferdinand 

Nach einer Aufnalime von Franz Hanfstaengl, Miinchen 



354 




! Petersburg, Eremitage Auf Holz, H. 0,69, B. 0,69 

Der Janustempel 
The Temple of Janus 1634—1635 Le temple de Janus 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



355 




Petersburg, Eremitage Auf Holz, H. 0,77, B. 0,79 

Merkurs Abschied von Antwerpen 
Mercury quiting Antwerp 1634—1635 Mercure desertant Anvers 

Nach einer Autnahme von Franz Hanfstaengl, Miinchen 



356 




*Ant\verpen, Museum 



Auf Holz, H. 1,04, B. 0,71 



Der Triumphbogen der Miinze 

Vorderseite 

The triumphal Arch of the Mint 1634—1635 L'arc de triomphe de la monnaie 

Front Face anterieure 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



357 




* Antwerpen, Museum Auf Ho , Z| H . j t 03, B. 0,71 

Der Triumphbogen der Miinze 
Riickseite 
The triumphal Arch of the Mint 1634—1635 L'arc de triomphe de la monnaie 

Ba <* Face posteneure 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



358 




Paris, Charles Sedelmeyer Auf Leinwand, H. 1,125, B. 0,90 

Erzherzog Ferdinand, Kardinal-Infant von Spanien 

1635 

The Archduke Ferdinand, Cardinal-infant of Spain L'archiduc Ferdinand, cardinal-infant d'Espagne 

Mit Genehmigung von Charles Sedelmeyer, Paris 



359 



3 1 
CO 



Cn g> 

3" 
a 



n 







w 

3 



3 



3 Co 

CO 3 
cn 3 



3 3 




360 




•a 
o 

E 
a) 
-a 

c 



E => 



w 
a) 

Q 



< H 



Rubens 46 



361 




* Briissel, Kgl. Museum Auf Lekiwand, H. 4,50, B. 3,35 

Die Marter des heiligen Livinus 

The Martyrdom of St. Livinus Urn 1635 Le martyre de St-Lievin 



362 




Dresden, Kgl. Galerie Auf Holz, H. 1,75, B. 1,26 

Bathseba am Springbrunnen 
Bathseba at the Fountain Um 1635 Bethsabee a la fontaine 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



363 




*Briissel, Kgl. Museum 

The Fall of the Titans 
A Sketch 



Der Sturz der Titanen 

Skizze 

Um 1635 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



H. 0,26, B. 0,42 

La chute des Titans 

Esquisse 







\T*~ " - j 


- ,»■ ■ i- 




. *#■ . ^ 




V: : . ')■■'■ 




A T^*' 


^■c^«l 


r .,■«& , 


■*^ Br ^HyBPI 






1 • 

1 






■■■ ** . 


n 


fLm, ^ 








■ 






'^m 


I^HE^ i 


%?K9tlm^rJ ^fttr p 




**? 




&, 




<r '' ' ' ""' -V'* 






..*■-■ *•/•* >-• -' \**\ ■ . ■ '' 



K'Brussel, Kgl. Museum 

Mercury and Argus 
A Sketch 



Merkur und Argus 

Skizze 

Um 1635 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



H. 0,26, B. 0,44 

Mercure et Argus 
Esquisse 



364 



Hfr* ^^jj£ 


% 


■ -■ 


j»<" 


i x*svsr \ 


mk*^ *&* 


ip^ 'j&. 


WfLjtJtF^M^M\ 


\.3SSr*3lfc*.'»j 




] ->*^gm m 


£ m 




■m - X •#»'*' ^4 






i/j 


^^JPPJp 






>' 




^<.w \^ 





r - >^ : ^j^k 






' 


i rn. ^k- 


.--' . f • 


|> 


JSf 




7 S 

... :/ 




•"■* ' 'v£ 


^ ."/ 1 




k. » 




i 


4 -. 





*Brassei,Kgi. Museum Dj e Entfiihrung der Hippodamia h. 0,25, b. o,« 

The Rape of Hippodamia Skizze L'enlevement d'Hippodamie 



Um 1635 
Nach einer Aufnahme von Franz Harrfstaengl, Munchen 



Esquisse 




« Wien, Hofmuseum Auf Holz, H. 0,48, B. 0,66 

Der Eremit und die schlafende Angelika 
The Hermit and the sleeping Angelica Um 1635 Angelique et l'Ermite 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



365 




<"Wien, Fiirstl. Liechtensteinsche Galerie 



Auf Holz, H. 0,64, B. 0,49 

Psyche, zum Olymp getragen 
Psyche carried upwards to the Heaven Um 1635 Psyche transported au ciel 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



366 




£ B 



60 
C 



3 

•a 

J3 



367 



£ y. 



3 



S G - 
§ S °- 



CTQ 




368 




3 
CO 

C 






u 



E- 



Rubens 47 



369 



H 

> 

a - 

c 



n> 

SB 

cr 
5' 



O 



X) 



c o. 

3 3 

. 5' 
5' 

3 
n> 

3 



3* 




370 




00 



•a E 



bo 

TO 

re 

60 



a 



371 




*Munchen, Alte Pinakothek Auf Holz, H. 1,65, B. 1,16 

Helene Fourment mit ihrem Erstgeborenen 
Helena Fourment with her First-born Urn 1635 Helene Fourment avec son fils aine 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



372 




t. a. 3 



3 


CO 


" - 




o.l 


E 


C 


'-J 






<LI 




f/» 








C 


c 


TJ 


re 


~ 


E 


CQ 


o 




!* 



B3IS5I 






^V X 










373 



c 

<5 



3 



O 

Q. 



3 




374 




2 
5 



pH C^ 



£ &• 




CQ 



375 



3* 



a 3- 




376 




.5 E 



CO 










pq 



Rubens 48 



377 




'Amsterdam, Reichsmuseum Auf Holz, H. 0,72, B. 0,35 

Die Kreuztragung 
Christ bearing the Cross Urn 1635 Le portement de la croix 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



378 




f Brussel, Kgl. Museum 



Die Kreuztragung 
Christ bearing the Cross 1636—1637 



Auf Leinwand, H. 5,63, B. 3,50 



Le portement de la croix 



379 




*New York, Metropolitan Museum Auf Leinwand, H. 1,73, B. 2,01 

Die heilige Familie mit dem heiligen Franz 
The Holy Family with St. Francis Urn 1635—1636 La sainte familie avec St-Francois 

Mit Genehmigung von Charles Sedelmeyer, Paris 



380 




* Windsor, Kgl. Schloss Auf Leimvand, H. 2,16, B. 2,13 

Die heilige Familie mit dem heiligen Franz 
The Holy Family with St. Francis Um 1635—1636 La sainte familie avec St-Francois 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



381 




Auf Leinwand, H. 1,89, B. 1,32 



* Bordeaux, Museum 

Die Marter des heiligen Justus 
The Martyrdom of St. Just Urn 1635-1636 Le martyre de St-Just 



382 




Jr B 



E 

•a 

3 



•3 J= 
5 H 



383 



&3 3 



D 



c 




Hi 


n 




►—. 


— 
3 




3 

03 


6 




to 


P 




D- 


C3 


a 


n 


2 

c 


B 


< 


B 




o 


Q 


CO 
Ol 


3 


t- 


1 


GO 


2 




to 


n 


Ol 




3 


Co 


<-e3 




o> 


~n 


ft> 




3 









S D 




384 




*Sanssouci bei Potsdam, Bildergalerie 

Bathing Women 



Badende Madchen 
Um 1635-1636 



Auf Holz, H. 0,82, B. 0,59 

Femmes au bain 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Rubens 49 



385 



H 

3" 



c = 
* 3 



3" 

ft) 



t- 



3 




386 




Mm 
en co 



O 

c 
•a 

o 



J3 



387 



o 



Q. 
n 

3 



t- 
o 
< 



^(K3 



5" 



3 
o 

5 > 




388 




^London, G. L. Holford 



Enthauptung des heiligen Paulus 
Decapitation of St. Paul Um 1635—1637 Decollation de St-Paul 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



389 






C rt 



3 
crq 



■5 



Wk^' 1 '' ' 






. ■■: 'I'.-' ■■ ■:■ ,, ''.:■:. ' 




.^% 




■■■ 


n 




■ 


k\ 






'^'i 


Wr 


. "' :: :, : -: ■■ ■ 


fJH?. 


% jMsyi 


■ ^j ^ £ 




^ ' if 


1 fisr^i^ 


H 


,^^-^ •■ 


! 




•" #^* ■ 






* r 


;* 

* 


*3 


'3LJ 'It 




«flN 


1 % 



390 




Madrid, Prado-Museum Auf Leinwand, H. 2,01, B. 1,71 

Der Leichnam Christi auf dem Schoss der Maria 

Um 1635—1638 

The dead Christ in the Lap of the Virgin Le Christ mort sur les genoux de la Vierge 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



391 




Madrid, Prado-Museum Auf Leinwand, H. 1,43, B. 1,56 

Christus und die Jiinger von Emmaus 
Christ and the Disciples of Emaus Urn 1635—1638 Le Christ et les disciples d'Emaus 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



392 




New York, W. A. Clark 



St. Magdalen repentant 



Auf Leinwand, H. 1,73, B. 1,15 

Die bussende Magdalena Ste-Madeleine repentante 
Um 1635-1638 



Nach einer Aufnahme von J. Lowy, Wien 



Rubens 50 



393 




< Sanssouci bei Potsdam, Bildergalerie Auf Leinwand, H. 2,10, B. 2,82 

Die biissende Magdalena 
St. Magdalen repentant Um 1635—1638 Ste-Madeleine repentante 



Nach einer Aufnahme von Ernst Eichgriin, Potsdam 




* Sanssouci bel Potsdam, Bildergalerie Auf Holz, H. 0,79, B. 0,56 

Orpheus entfuhrt Eurydice 
Orpheus abducting Eurydice Um 1635 Orphee et Eurydice sortant des enters 

Nach einer Aufnahme von Ernst Eichgriin, Potsdam 



394 




Paris, Charles de Beistegni 

The Death of Dido 



Der Tod der Dido 

Um 1635—1638 



Auf Leinwand, H. 1,825, B. 1,15 

La mort de Didon 



Mit Genehmigung von Charles Sedelmeyer, Paris 



395 




* Paris, Louvre Auf Holz, H. 1,13, B. 0,82 

Helene Fourment mit ihren Kindern 

Um 1635-1638 

Helena Fourment and her Children Helene Fourment et deux de ses enfants 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



396 




CuO 






bo 

n 



Si C3 

C to 

SI 
00 £ 

to 

£1 E 
^ 3 



■a 

c 



-a 

c 



397 




Wien, Fiirstl. Liechtensteinsche Galerie 



A Landscape 



Landschaft 

Um 1635—1638 



Auf Holz, H. 0,76, B. 1,06 

Paysage 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



398 




London, Lord Northbrook 



Auf Holz, H. 0,495, B. 0,547 



Landschaft mit Fuhrwerk 
Landscape with a Carriage Um 1636 Paysage avec un char 

Nach einer Aufnahme von Franz Hanfstaengl, Munchen 



399 




■'■ Koln, Peterskirclie 

The Crucifixion of St. Peter 



Auf Leinwand, H. 3,10, B. 1,70 

Kreuzigung Petri Le crucifiement de St-Pierre 

Urn 1635—1640 



Nach einer Aufnahme von Th. Creifelds, Koln 



400 




s Wien, Hofmuseum 



St. Andrew 



Der heilige Andreas 

Um 1635—1638 



Auf Holz, H. 0,56, B. 0,58 

St-Andre 



Nach einer Aufnahme von Franz Hanfstaengl, Munchen 




Wien, Hofmuseum 

An old Priest 



Ein alter Levit 

Um 1635—1640 



Auf Holz, H. 0,50, B. 0,57 

Un pretre age 



Rubens 51 



401 




London, Nationalgaleric Auf Holz, Durchmesser 0,635 

Apotheose Wilhelms des Schweigers von Oranien 

Urn 1635—1640 

The Apotheosis of William the Taciturn L'apotheose de Guillaume le Taciturne 

Nach einer Aufnahme von Franz HanfstaengI, Miinchen 



402 




CO 



■a 


-T 


c 


(O 


^ 


1 


c 


m 






<u 


CD 


JC 


*-* 




E 


•a 


LJ 


n 




o 





J3 

"c 
o 
o 






403 



3 



3 5 5 

3 V 1 TO 

= I n 

: se; 



C c 




404 




-J 



3 § 

S I 

O to 

•a ilo 

o <-• 

00 g 

S 3 



u 



o 



405 




Madrid, Prado-Museum Auf Leinwand, H. 3,35, B. 2,58 

Ferdinand von Oesterreich in der Schlacht von Nordlingen 

Ferdinand of Austria in the Battle of „ 16 , 6 Ferdinand d'Autriche dans la bataille 

Nordlingen de Nordlingen 

Nach einer Aufnahme von Lacoste y Cia., Madrid 



406 




00 to 5 

CD o 



•a 

a 



<_> 



-J 

< 



407 



p 
5' 
if 



3 
D. 



r, 


r-f- 


a 


n 






•~ 


3 


--. 


3 




w 




<T> 




(TO 




n> 




3 




cr 




o 




Crq 




4C8 




00 — 

O -0J 



a. 

o 



■a 

- 

3 



cl> ~ 

O" = 



o 

x: 






6£ 



Rubens 52 



409 



H 



T3 



D 



X) 



— . 


cr 


CO 

— 


c 


1 


o 




>-t 






CO 


53 


-g 










2? 
3 



"2 
5' 




410 





■Madrid, Prado-Museum Auf Leinwand, H. 1,79, B. 0,66 

Archimedes 

Urn 1636—1637 

Nach einer Aufnahme von Lacoste y Cia., Madrid 



Madrid, Prado-Museum Auf Leinwand, H. 1,30, B. 0,69 

Mercury Merkur Mercure 

Urn 1636—1637 
Xach einer Aufnahme von Lacoste y Cia., Madrid 



411 



2 I 



CO 






o 
H 



15- co i— 5 



3 

C 



H 5 











■■' W 





412 





"Madrid Prado-Museum Auf Leinwand, H. 1,81, B. 0,S7 

, Der Raub des Ganymed 

Um 1636—1637 



The Rape of 
Ganymede 



L'enlevement de 
Ganymede 



"Madrid, Prado-Museum Auf Leinwand, H. 1,79, B. 0,95 



The Fortune 



Fortuna 

Um 1636-1637 



La Fortune 



Nach Aufnahmen von Braun, Clement & Cie., Dornach (Elsass) 



413 



3 



Crq 

(3 



f* 







414 





■Madrid, Prado-Museum 



Auf Leinwand, H. 1,67, B. 0,95 



Flora 

Um 1636—1637 
Nach einer Aufnahme von Lacoste y Cia., Madrid 



*Madrid, Prado-Museum Auf Leinwand, H. 1,86, B. 0,87 

Saturn verschlingt eines seiner Kinder 

1636—1637 
Saturn devouring one of Saturne devorant un 
his Children de ses enfants 



' Nach einer Aufnahme von Braun, Clement & Cie., 
Dornach tElsass) 



415 




Friiher Madrid, Herzog von Ossufia 

Perseus und Andromeda 
Perseus and Andromeda Um 1636—1637 Persee et Andromede 

Nach einer Aufnahme von Lacoste y Cia., Madrid 



416 




Q 



J3 



Rubens 53 



417 



3 
0. 

m 

O. 

•<; 

3 
5" 

3 



3 
3 g 

I w 

~ 3 

3 
o" 

3 



3 




418 




PJ 



■a 
>> 

II 

~ to 

§ I 
a. 



•a 
>-, 

3 

w 

•a 

c 






419 




: Koln, Stadtisches Waffraf-Richartz-Museum 

The Holy Family 



Heilige Familie 
Um 1636—1638 



Auf Leinwand, H. 1,18, B. 0,5 

La sainte familie 



Nacli einer Aufnahme von Th. Creifelds, Koln 



420 




'' Antwerpen, Jakobskirche Auf Holz, H. 2,11, B. 1,95 

Die Madonna mit Heiligen 
The Madonna with Saints Urn 1636—1638 La Madone avec des saints 



421 




• Richmond, Frederick Cook 

Die Madonna mit Heiligen 
The Madonna with Saints Um 1636—1638 La Madone avec des saints 

Nach elner Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



422 




Wien, Fiirstl. Liechtensteinsche Galerie 

Maria Himmelfahrt 
The Assumption of the Virgin Urn 1636—1638 



Auf Leinwand, H. 5,04, B. 3,52 

L'assomption de la Vierge 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



423 





v^9 


^■- ■ jl 










■ ■ 










^'". 




. pi 








MK, It.. ,^p*& ^jM ] 








■^a 






K 


*n 




$F 


V 








Bfj'-aSa 


Ik i 


Ew ' il 








'Br ^B 1» ^BJ BaBt " jgjH 

■ B^. 'BBBsRSiiK' 1 ^idtafc. ^B* ^H 

WFZ* \ en ' S ^BeBt^B 




JnEL^ka 



Madrid, Hospital der Flamlilnder Auf Leinwand 

Der Martyrertod des heiligen Andreas 
The Martyrdom of St. Andrew Um 1636—1638 Le martyre de St-Andre 



Nach einer Aufnahme von Lacoste y Cia., Madrid 



424 




'' Fruher Munchen, Sammlung Schubart 

The Bath of Diana 



Das Bad der Diana 

Urn 1636-1638 



Auf Leinwand, H. 1,50, B. 1,18 

Le bain de Diane 



Rubens 54 



425 



3 






n 

o 

=3 



CO 

3 

S* <"> 

3 3- 

09 



1% 

CO to- 
CO /*, 

3* 
n> 

3 







426 




< 



^ CO 



<u 5 
.* D 
o 

or 



Q 



o 

.Q 





E 




o 




.^ 


= 


c 






u. 


3 








11 


3 


ce 


o 


CD 




j= 


- 


H 



427 



H 
3" 

a: 



en 

5' 





o 








<T> 




&* 




rc 
















CTQ 




CD 


c 




5 


"fl 




M 


o> 


3 


CO 




o 


^7? 


^ 


n> 






CT> 


B 



s- o =; 



(TO 

(T> 

3 




428 




CQ 



3 



T3 



3 

an 



429 



3 



c/3 



o 



a 



O 



10 


=3 


O} 


OS 


1 


< 


O 


O 
3 






r . ro 




430 







V 


• 




^'^ 


'^ jjfH^^K^jj^Byy -. .^J ^ ^BH 






V %; ..<3Pf' , ':' Hx 




fcJBSW-v 








Ml ' 




y M 


■*liik 




I v'a |& -jr. ^^1 




"=«Jk- ^W 


p3^"' V'- 




'. igj 



u 



CO CO 

*7 

C 3 



U 



T3 



431 



2 

3 



3 





^ 




3 


G 

3 


►a 

3* 


M 


3 


en 




CO 
CT; 
1 


C 
3 




Q. 



3- 5 



Z 

3 
•o 

3* 




432 




TO T3- W 



is to 



CQ " 
^ B 

Q 






Rubens 55 



433 



cr - 
re 

o 



£ 



a 



C O, 
3 <» 



00 ^ 






| 






i' 


w^rl 


1 




* 


,JU 


Jfm 


Si ' 


^*f*\ ' * 


' * ^ I ' ** 




^L ^MB| I, 


1 ? '#- "V 


J 


M ^jO 


* r' " 


S 


■ **•<» 


■ ,.*- 




1 


^.^ 


; 


i 


B 1 ■ #4f 


^ 




* *i 


t , 



434 




f Prag, Rudolfinum 



St. Augustinus 



Der heilige Augustin 

1637—1639 

Nach einer Aufnahme von Carl Bellmann, Prag 



Auf Leinwand, H. 2,54, B. 1,75 

St-Augustin 



435 





%: 


b| : 


'■■'■' V: 

- ■ i 





* Prag, Rudolfinum Auf Leinwand, H. 3,80, B. 2,35 

Der Martyrertod des heiligen Thomas 
The Martyrdom of St. Thomas 1637—1639 Le martyre de St-Thomas 



Nach einer Aufnahme von Carl Bellmann, Prag 



436 




^Wien, Hofmuseum 

Portrait of Rubens 



Selbstbildnis 
Um 1637—1639 



Auf Leinwand, H. 1,09, B. 0,83 

Portrait de l'artiste 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



437 




"Petersburg, Eremitage 



Bacchus 
Um 1637—1640 



Auf Leinwand, H. 1,91, B. 1,60 



Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



438 




*Antwerpen, Museum 

Triumphal Car 



Triumphwagen 
1638 



Auf Holz, H. 1,03, B.0,71 

Char de triomphe 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



439 




* Berlin, Kgl. Museum 



Andromeda 
Um 1638 



Auf Holz, H. 1,89, B. 0,94 



Nach einer Aufnahme von Franz Hanfstaengl, MUnchen 



440 




* Madrid, Prado-Museum 

Perseus und Andromeda 
Perseus and Andromeda 1639—1640 



Auf Leinwand, H. 2,65, B. 1,60 

Persee et Andromede 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



Rubens 56 



441 



H 

3- 
ft> 



Q. 

3 



o 
13 



5 en >T1 

J £ » 

Q >L 53" 



CTQ 







442 




,2 "o 



,_ (X 



•a 

c 



T3 






443 




: Paris, Baron Alphons von Rothschild 



Auf Holz, H. 1,98, B. 1,22 



Helene Fourment 

Um 1638-1639 



444 




C3 QJ 



GO = 

n 3 



o 
CO 



W -2 




o 



445 




Madrid, Prado-Museum 

The three Graces 



Die drei Grazien 

Urn 1638-1640 



Auf Holz, H. 2,21, B. 1,81 

Les trois Graces 



Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



446 



■ 








V^ 




- " 


My 



o 



01 


r-. 


n 


CD 






C1J 






H 






a, 


D 


o 




^ 






re 



6 



.Si E 

X 3 



447 



H 
o 



3 

in 

cS- 
3 ^ 

en _. 
oo — * 



H 



C 

3 



ffQ 




448 




jS E 



o 



c 
5 



Rubens 57 



449 



— 



3 



C 2. 



3 
o 

3 

C 
3 

c. 
da 

c 



C 

3 




450 




en g 
D 



J 



■a 

a 

CO 



451 



H 
3 



3 



D 

a 



J Orq 

OCTQ 

n 







452 




'Berlin, Kgl. Museum 



St. Cecilia 



Die heilige Cacilie 

Um 1639—1640 
Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



Auf Holz, H. 1,77, B. 1,39 

Ste-Cecile 



453 



ANHANG 



SCHULERARBEITEN UND UNECHTE BILDER 




"Turin, Pinakothek Auf Leinwand, H. 1,77, B. 0,61 

Die Auferweckung des Lazarus 
The Resurrection of Lazarus La resurrection de Lazare 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



Rubens 58 



457 



< s 



3 

> 

O 

3 



< 



3 3 
re ' 3 

§ °" 

3 > 

P CL 

> 2 

= 3 



> t 

a. " 

O I 

2. §■ 




J\]U 



«1 



\Q|,2 



458 




o 




•a 

c_o 

22 32 



3 > 



T3 

c 
o 






459 



cc 



3 



C 
3 

o n> 

3- 3 



D. 3 




> 

3 



O 



-q 



-- 1 C 
3 3 




460 




CQ 




3 



461 




H 

3" 



3 



3 



g 
m 

3 



Ti 



3 
Q. 



3 

-a 



3 




462 



fj^wg* 




